Palm Beach Art, International Art News

Adolfo Wildt, Un Rosario - MCMXV, particolare. Milano, collezione privata.

From January 28 to June 17, 2012 – Musei San Domenico
Finally, he has been rediscovered! An artist known by certain aficionados, but unheard of by numerous art amateurs, Adolfo Wildt (1868-1931), was a hair dresser and then a jeweller apprentice before discovering sculpture at the age of 13. At the age of 26, a Prussian collector –Franz Rose – signed a contract with him that covered the artist’s needs: for 18 years, the aesthete bought the first edition of each of his sculptures for an annual salary of 4000 lire. He then starts making from plaster, wax or, better yet, marble, hallucinating portraits, tortured faces, with sunk in features or amplified and exaggerated. In the restful venue of a restored church and its cloister, in what was Mussolini’s native town, his shocking creations, between symbolism and Art nouveau, are brought together with works that impressed him, from Cosmè Tura to Casorati.

Adolfo Wildt, Carattere fiero - Anima gentile, particolare. Venezia, Galleria Internazionale d’Arte Moderna di Ca’ Pesaro

After the death of its promoter Rose (1912), Adolfo Wildt was forced to compete for the first time with the art market. In 1913, he was awarded the Premio Principe Umberto for his design for the fountain show at The trilogy of Secession of Monaco, then exhibited in the courtyard of the Humane Society in Milan. From 1914 onwards he was able to regularly attend various international exhibitions. Furthermore, he also held a staff in 1919 at the Galleria Pesaro in Milan, while in 1921, 1924 and 1926 he exhibited at the Venice Biennale. In 1921 he founded his School in Milan Marble which then became part of the ‘Accademia di Brera and was developed in 1927 in a three-year program. Among his most famous pupils were Lucio Fontana, Fausto Melotti and Luigi Broggini.

Museum Hours

From October 1, 2011 to February 12 of 2012 – Palazzo Zabarella – Foundation Bano
Frederick Bano announces “The Symbolism in Italy”. The appointment, in many ways not to be missed, this year is in Padua, Palazzo Zabarella.
To make this new venture, the Foundation Bano, here once again with the Antonveneta Foundation, called Fernando Mazzocca and Carlo Sisi Clarelli with Maria Vittoria Marini, director of the Galleria Nazionale d’Arte Moderna in Rome.

The theme and scope are well known: at the turn of the nineteenth and twentieth century, the unconscious breaks through in the art and nothing will ever be the same. It is the discovery of an “other” world, fascinating, intriguing, a new lens that turns the perception of all reality, it is a physical landscape always in motion..
It is the story of a movement that spreads rapidly at European level but not without providing comparisons across borders and in particular with the scope of the Austrian Symbolism: the worth of all Judith – Salome, Gustav Klimt or Sin, the famous masterpiece by Franz von Stuck: two works alone are worth the visit to the exhibition.
But if international comparisons are of the highest quality, that the Italian offer eight sections of this exhibition, is certainly no surprise.
They are works that, taken together, reconstruct the mission of art that fiery debate on these crucial years of social change. Works that evoke that hovered in literary and philosophical Angelo Gabriele D’Annunzio or accounts or in circles devoted to Wagner’s music, while the exposure brought the ferment in Italy of European movements.

Gaetano Previati Maternità, 1890-91 olio su tela, cm 174 x 411 Collezione Banca Popolare di Novara – Gruppo Banco Popolare

Just with one exposure, the Triennale di Brera in 1891, opens the itinerary of the exhibition that has accompanied the two mothers and maternity Segantini Gaetano Previati paintings that mark the synthesis of divisiveness and symbolic content. Below is a section dedicated to ‘players’: the Italian and foreign artists who participated directly in poetic adventure grew up around the Manifesto of 1886 and all of Jean Moreas’ “art of thinking” harbinger of poetic moods.
“A landscape is a state of mind, “wrote Henry-Frederic Amiel, and this principle is inspired by the section, dealing with the nature of feeling panic, which exhibits works prevail, in the representation of landscape, the fog, the glow at night, the atmospheric variability, situations in short more easily connected to psychological disturbances. A preface to this issue the ‘Isle of the Dead Böcklin in the refined and unpublished version of Eight Vermehren, flanked by paintings by Vittore Grubicy, Pellizza from Volpedo, Plinio Nomellini.

The exhibition ends in the ‘Hall of Dreams’, which at the Venice Biennale of 1907 had consecrated the demands and achievements of the Symbolist generation, creating a real setting assigned to the ingenuity of Galileo Chini and decorative artists who, with their militancy, had contributed to the poetics of ‘pleasure’ and concern, and the myth of beauty, spirituality and mood, supporting them with tenacity until the beginning of the revolution whose futuristic introduce two more masterpieces of the symbolist The dream as Umberto Boccioni (Paolo and Francesca) and the mother who sews. (google traduction…)

Museum Hours

Ana Vidigal, Penélope Installation 237 x 290 x 22 cm CAMJAP Collection , Fundação Calouste Gulbenkian

From Sept21 to November 5, 2011 – The Baginski, Galeria
Viewed as one of Portugal’s leading feminist artists, Vidigal is best known for her large-scale collage works that use layers of simple textures and materials to invoke new responses to experiences of the ‘everyday’.

The collages incorporate recycled materials, paint and the written word in what the artist calls a ‘game of hide and seek.
Vidigal has had numerous international solo exhibitions throughout her career including a major retrospective at Centro de Arte Moderna, Lisbon (2010), the Architecture Triennial, Lisbon (2007) and at Galeria Casa Triângulo, São Paulo, Brazil (2006).

Vidigal graduated from the Escola Superior de Belas-Artes de Lisboa in 1984. She received a Fundação Calouste Gulbenkian research grant (1985-87) and won the Maluda Painting Award in 1999 and the Amadeo de Souza-Cardoso Prize in 2003. Vidigal was born in Lisbon, Portugal in 1960 where she continues to live and work.

Gallery Hours

Little girl in a garden , especially a planter living room, made of semiprecious stones, 1883 - Florence, Museo dell'Opera 'Opificio delle Pietre Dure

May 17 to September 11, 2011 – Galleria d’Arte Moderna Palazzo Pitti
The exhibition is linked to the 150th anniversary of the unification of Italy, focusing on a specific theme, Florence and international: a new path opened after 1861 for the brilliant artistic manufacture, which had flourished for three centuries in the shadow of the grand-ducal court of Tuscany and became famous throughout Europe for its inimitable creations in precious stones. It was with the creation of the kingdom of Italy that the old Works Gallery, founded by the Medici, had to change it status of laboratory to the exclusive service of the court, to open the market and offer its excellent creations to private customers , among which were buyers such as the czar of Russia and Ludwig II of Bavaria. The creations that Opificio delle Pietre Dure realized in the last decades of the ‘nineteenth century, even when aimed at the emerging middle class is distinguished for the richness of materials and exquisite technique. Wall panels, table tops, boxes, sculptures and ornamental stones and more fascinating, the chromatic splendor of precious stones. All, put in  works carried out with pictorial sensibility, but also with the latest decorative inventions of the artistic taste of the time. Applied arts such as painting and sculpture, are also represented in the exhibition through examples created by the old laboratory, under the new name of Opificio delle Pietre Dure.

Gallery Hours

Until January 16th 2011 – Centro de Arte Moderna – Calouste Gulbenkian Foundation
THE EXHIBITION offers the comparison between works from the beginning of the 20th and 21st centuries taking into account problems which debate the context and nature of the Res Publica and of the republic’s social heritage in the current globalized work.

With a national blueprint, the exhibition also includes works from foreign artists underlining or even enhancing aspects of the developed approach.
Public causes, their emergence and community strength are necessarily present in the artistic act, from the more private to the utterly political or simply collective one.
In the beginning of the 20th century in Portugal, the Res Publica is reviewed taking into account ideals and critical perspectives wishing for the renewal, but the facts portray an estranged reality of it.
In the beginning of the 21st century the Res Publica is the subject and the object of not only social but civilisation’s lack of guidance.
The exhibition aims to map out these realities, exhibiting works from those two moments, a century apart, and yet united by their theme.

ARTISTS

Adriano de SOUSA LOPES         Alves CARDOSO
Ana MATA                                     Ana TELHADO
André CARRILHO                        André ROMÃO
Ângela FERREIRA                       António Jorge GONÇALVES
António Júlio DUARTE                 António MARQUES
Armanda DUARTE                       Arnaldo GARCÊS

Bruce NAUMAN                           Bruno PACHECO
Carlos CORREIA                          Carlos REIS COLUMBANO
Cristiano CRUZ                            Cristina LUCAS
Cristina SAMPAIO                       Daniel BARROCA
Dórdio GOMES                             Eduardo VIANA
Eurico LINO DO VALE                 Eva BENSASSON
Francisco VIDAL                          Gabriel OROZCO
Gil Heitor CORTESÃO                  Guillermo KUITCA
Inês GONÇALVES                        Joana VASCONCELOS
João FAZENDA                             João Pedro VALE

Jorge PINHEIRO                          Joshua BENOLIEL
José ALVES DA CUNHA              José Carlos TEIXEIRA
José de BRITO                          José Francisco de Sousa FILHO
José Luís NETO                            José MALHOA
Laurent GRASSO                          Leal da CÂMARA
Luísa FERREIRA                           Manuel BOTELHO
M. G. BORDALO PINHEIRO      Manuel SANTOS MAIA
Maria LUSITANO MARÍN          Martinho COSTA
Nelson d’AIRES                            Nikias SKAPINAKIS
Nuno MAYA                                  Pamela GOLDEN
Paula REGO                                   Paulo CATRICA
Pedro GOMES                               Pierre GONNORD
Rafael BORDALO PINHEIRO     Rodrigo OLIVEIRA
Rui MOREIRA                               Sílvia MOREIRA
Susan PHILIPSZ                           Susana GAUDÊNCIO
Taryn SIMON                                Vasco ARAÚJO
XANA

Museum Hours