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Un Etrusco Nel Novecento L'arte in Russia Negli Anni Che Sconvolsero

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Un Etrusco Nel Novecento L'arte in Russia Negli Anni Che Sconvolsero 01 1 18-DEC-17 15:53:09 n° 383 Un etrusco nel Novecento L’arte in Russia negli anni che sconvolsero il mondo Al di là delle nuvole Insolito senese Hammershøi, il pittore di stanze tranquille n° 383 - gennaio 2018 © Diritti riservati Fondazione Internazionale Menarini - vietata la riproduzione anche parziale dei testi e delle fotografie - Direttore Responsabile Lorenzo Gualtieri Redazione, corrispondenza: «Minuti» Edificio L - Strada 6 - Centro Direzionale Milanofiori I-20089 Rozzano (Milan, Italy) www.fondazione-menarini.it NOTEBOOK Galileo Returns to Padua Rivoluzione Galileo, at Pa- lazzo del Monte di Pietà of Padua until 18 March 2018, illustrates the com- plex figure of one of the absolute protagonists of the Italian and European Seicento, who taught for 18 years at the Venetian city’s university – years re- membered by the great scientist as the happiest of his life due to the freedom accorded him to teach as he saw fit. The exhibition shows us the many facets of Galileo the man: from the scientist, father of the experimental method, to the music theorist and lute Guercino: Atlas Giandomenico Tiepolo: Hercules player; to his qualities as a draughtsman; from Galileo owners’ heirs to the Palladio The Dutch 17th Cen- the inventor – not only of Museum of Vicenza where tury in Shanghai an improved spyglass but they have been on show and Abu Dhabi also of the microscope and since November 2017. Until 25 February 2017, the compass – to the ‘eve- The frescoes were painted at the Long Museum of ryday’ Galileo, scholar of two decades after the Tie- Shanghai, Rembrandt, viticulture and compoun- polos, father and son, de- Vermeer and Hals in the der and merchant of me- corated Villa Valmarana Dutch Golden Age: Ma- dicines in pill form. To do- ai Nani, for their patron’s sterpieces from The Leiden cument the Galilean revo- son Gaetano Valmarana. Collection presents, a series lution, the exhibition pre- While in the suburban villa of masterpieces – including sents original documents the Tiepolos celebrated 11 paintings by Rembrandt and scientific instruments the natural simplicity of a – such emblematic works alongside an astonishing ‘moralised’ country life, as Minerva in Her Study corpus of works of art by the register of the works (belonging to a series now masters ranging from Guer- painted twenty years later broken up among the cino to Rubens and from in the city residence, a short Prado, the Metropolitan Giacomo Balla’s 20th cen- distance from the Teatro and the Hermitage mu- Rembrandt: Portrait of an Elderly Woman in a tury to the present, with Olimpico, was completely seums), and the Young White Bonnet Anish Kapoor. different: they conceived Girl in a Gold-Trimmed a ‘second edition’, in pain- Cloak – alongside Ver- The Rediscovery of ting, of the scenic structure meer’s Young Woman Sea- the Courtly Tiepolo of Palladio’s ancient theatre ted at a Virginal, the only Seven frescoes by Giando- and adopted a courtly lan- painting of the artist’s ma- menico Tiepolo (1727- guage in which mono- ture period not to belong 1804), conserved in the chrome figures of the to a public museum. For residences of their owners Olympian gods and my- the occasion, the Leiden who safeguarded them thical characters seem to Collection has also loaned from the ravages of war, converse with the Palladian works by Jan Lievens and have been donated by the architecture. by Rembrandt’s most ce- 2 Vincent Van Gogh: The Garden of Saint-Paul Hospital, Saint-Remy lebrated pupils such as Ca- 8 April 2018 – traces the rel Fabritius, Govaert Flinck stages in the Dutch pain- and Ferdinand Bol. Foun- ter’s short but intense career ded in 2003 by an Ameri- – lasting only a decade – can collector couple, the in 43 paintings and 86 dra- Leiden Collection is one wings. The works – most of the largest private col- of which are from Hol- lections of 17th-century land’s Kröller-Müller Mu- Dutch painting – but a seum – follow the path that very discreet one and until began in 1880, when Van stels from its own collec- Charles-Lucien Léandre: Sur champ d’or recently not widely known. Gogh preached in the Bo- tion, to offer a panorama To the point that until rinage mines in Belgium on the major currents in 2017, when the Louvre of and discovered his vocation art in the second half of Paris organised the exhi- as a draughtsman. the 1800s, from Impres- bition that marked its de- Although his first attempts sionism to Symbolism. An but, so to speak, on the are dominated by dark, al- exceptional occasion, since world stage, the Leiden most unvarying hues, the the majority of the works Collection had never pu- artist’s palette expanded on exhibit have never been blished a catalogue of its following his arrival in Paris shown before – and at the holdings. After Shanghai, – where he met Seurat – exhibition’s close will be the exhibition will travel and then exploded in the returned to controlled sto- to Moscow, Saint Peter- blinding light of Provence rage to best conserve the sburg and the Louvre Abu into the colours that shine fragile paper supports and Dhabi. in the works of his later ye- the deterioration caused ars until his death in July by exposure to light. Van Gogh of 1890. Following a period of di- and Light sinterest after the popularity At the Basilica Palladiana 19th-Century it had enjoyed in the 1700s, of Vicenza, now again open Pastels in the second half of the to the public following re- Until 8 April 2018, Paris’ 19th century the pastel en- storation, the exhibition Petit Palais is staging L’art joyed a notable revival – entitled Van Gogh. Tra il du pastel de Degas à Re- thanks to the Impressio- grano e il cielo – on until don, a selection of 130 pa- nists, who saw this medium 3 as an excellent tool for ‘sei- zing the moment’. The five sections show pastels by Edgar Degas, Berthe Mo- risot, Mary Cassatt, Au- guste Renoir and Paul Gau- guin before going on to the literary and allegorical subjects of the Symbolists, a star among whom is Odi- lon Redon with his dre- amlike imagery. Aspects of the 20th Century in Rovereto Rovereto’s MART is con- tinuing its series of exhi- bitions devoted to 20th- century art in Italy with Realismo Magico. L’in- canto nella pittura italiana degli anni Venti e Trenta, Felice Casorati: Gli scolari (Schoolchildren) from 3 December 2017 to 2 April 2018. The exhibi- most creative and original of artists whose leading fi- tion, scheduled to travel heights in the Twenties gures included Felice Ca- to Helsinki and then to and Thirties. The style sorati, Antonio Donghi Essen in 2018, illustrates emerged in the period and Achille Funi. the history of Realism Ma- which, following that of ‘Realistic precision of ou- gico (Magic Realism) in the historic avant-gardes, tline, firmly-rooted solidity Italy with about seventy was marked by a recovery of form, surrounded by a works from premier public of tradition in the figurative magical atmosphere pre- and private collections. arts. In Italy, reality was gnant with an unsettling The term Realismo Magico ‘reworked’, transfigured intensity . .’ is how writer describes a season in inter- by the imagination and a Massimo Bontempelli de- national art that rose to its sense of wonder, by a group fined the style. n° 383 - gennaio 2018 © Diritti riservati Fondazione Internazionale Menarini - vietata la riproduzione anche parziale dei testi e delle fotografie - Direttore Responsabile Lorenzo Gualtieri Redazione, corrispondenza: «Minuti» Edificio L - Strada 6 - Centro Direzionale Milanofiori I-20089 Rozzano (Milan, Italy) www.fondazione-menarini.it A 20th-Century Etruscan Marino Marini, a master of contemporary sculpture who meditated and expanded upon the lessons of past centuries ‘Essentially, my love for the horse comes from my inner research into a certain type of architecture that drew my interest. The form of the horse is the opposite of man’s: it is a horizontal form; man’s form is vertical. These two architectural concepts encouraged me to explore and to continue to work around this idea. Nevertheless, the idea changes: it was born calm and docile but over the years became extremely restless and expres- sionistic.’ The Cavaliere (Rider), present at every point along the artist’s creative parabola from the Thirties onward, is the best- known of the themes addressed by this artist who worked on a select, quite narrow array of subjects, rewor- king each based on meditations tou- ching each time on the creations of the masters of the past or of the most authoritative and incisive personalities in contemporary sculpture. Marino Marini: Popolo - Milan, Museo del Novecento The Cavaliere appeared for the first time in 1936. Here, horse and rider May 2018 will be hosting the second constitute a harmonious whole, calm stop for the exhibition entitled Marino and balanced, statically monumental Marini. Passioni visive after its debut in form. In the decade that followed, in Pistoia – the sculptor’s native city the forms became more thickset and – as one of the events organised to ce- archaistic, until by the late 1940s the lebrate Pistoia 2017, Italian Capital horse appears to be balking, planted of Culture. solidly on the ground with its neck The ample corpus of Marini’s works extended, ears down and back, and on show in Venice includes, alongside mouth open; representative of this the Cavalieri, a series of female statues, phase of his production, the Angelo the Pomone; in the artist’s words, della città that in the Peggy Guggen- ‘Pomona is of a solar world and lives heim Collection of Venice dominates by a solar poetry, by a true humanity, on the Marino Marini terrace over- by an enormous abundance and great looking Canal Grande: powerful, an- sensuality.’ The call of ancient sculpture cient and modern all together.
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