From October 13th 2012 to January 13th 2013 – Palazzo dei Diamanti
Boldini, Previati e De Pisis. Due secoli di grande arte a Ferrara reunites about eighty works including paintings, sculptures and works on paper that span over one hundred and fifty years of artistic production. The show opens with works from the first half of the 1800s: from paintings by Giovanni Antonio Baruffaldi and Giovanni Pagliarini inspired by the Purismo movement with literary or religious themes to the romantic fervour of those by Girolamo Domenichini, Massimiliano Lodi and Gaetano Turchi that commemorate the grandeur of the Estense heritage or give form to the hopes of the Risorgimento. From the middle of the century, the success of genres such as portrait, panoramic views or landscapes was often linked to artists active outside Ferrara, and above all, to Giovanni Boldini. He was prominent in the renewal of Italian and international painting in the second half of the century, first among the “Macchiaioli” in Florence and then in the Paris of the Impressionists. A wide selection of Boldini’s masterpieces shows his role as an undisputed protagonist in the Belle Époque, as does the establishment in 1935 of the museum dedicated to him. Included are portraits like Portrait of Young Subercaseaux, Firework, Walking in the Bois de Boulogne and Lady in Rose, interior paintings of his atelier, still lifes and panoramic views.
Tag: giovanni boldini
Until June 17, 2012 – Palazzo dei Diamanti – Ferrara
This spring, Palazzo dei Diamanti is proud to present for the first time in Italy the works of Joaquín Sorolla (1863–1923), one of the most remarkable interpreters of modern Spanish painting.
A protagonist of La Belle Époque and as renowned as Sargent and Boldini as a portrait artist, today Sorolla is considered one of the most fascinating Spanish artists during this crucial period from the late Nineteenth to the early Twentieth centuries, a period notable for the spread of Impressionism and Symbolism.
Ferrara Arte pays homage to Sorolla with an exhibition organized in collaboration with the Patronato de la Alhambra y El Generalife in Granada, the Museo Sorolla, and the Fundación Museo Sorolla in Madrid Curated by Tomàs Llorens, Blanca Pons-Sorolla, María López Fernández and Boye Llorens, the show will travel to Granada and Madrid after Ferrara.
Focusing on a pivotal period in the creative path of the painter, the exhibition presents works from the years of his full maturity and in particular, paintings stemming from his fascination with the theme of the garden and his time in Andalusia. Already successful, Sorolla continued to reflect on his art. In this period he develops a unique voice characterized by a poetic of silence and intimacy, crafting a sophisticated language that resonates astonishingly with contemporary Symbolist and Modernist movements. This introspective process and quest for simplicity is investigated here for the first time, throwing new light on Sorolla’s artistic persona. Similarities between the Spanish painter’s works and those of Giovanni Boldini will also be explored.
An outstanding series of portraits painted from 1906-07 of the painter’s family set in the garden with its fountains opens the exhibition. In paintings such as María dressed as a Valencian peasant, Skipping the rope or Watching fishes, the figures blend into sparkling backgrounds created with brushstrokes of pure colour or trace sinuous shapes on sparkling water. This play between subject and landscape prefigures the modernity seen in Sorolla’s later works.
Fundamental to Sorolla’s development as an artist was his discovery of Andalusia where he stayed regularly between 1908 and 1918. This markedly affected the style of his late maturity, and we perceive a gradual transition from naturalism towards one rich with Symbolist resonances. The exhibition traces his response to this land and its ancient culture, from the magnificent landscapes of the Sierra Nevada which provided material for dreamlike crystalline visions, to his studies of Andalusian subjects such as Joaquína the gypsy, interpreting them with an originality that was far from stereotypical.
What inspired Sorolla most of all in Andalusia were the Moorish gardens and patios of the Alhambra in Granada and the Alcázar in Seville, as can be seen in the extraordinary series of paintings that he dedicated to this theme over the course of a decade. Here, he captures the secluded and solemn charm of the places that profoundly influenced music and poetry in Spain at the time. The vegetation, the marbles, ceramics, fountains, light and colours create a rich sensory counterpoint that resonates through these compositions from which all human presence has been banished. The artist’s brushstrokes linger over the reflections on the water, on the light that seems to dissolve into geometric patterns and on the colourful mosaics of the garden, making them the protagonists in a painting which speaks a language that is ever more pure and refined.
Andalusia profoundly changed Sorolla’s work, leading to a style that culminated in the paintings inspired by the garden of his new house in Madrid. The elderly painter spent a lot of energy creating his garden, with a passion that is reminiscent of Monet and his lily pond. He took his inspiration from the verdant corners of Seville and Grenada, bringing from Andalusia fountains, tiles, columns, statues, fruit trees and ornamental plants. And like Monet at Giverny, Sorolla found in his garden an inexhaustible source of inspiration, transferring to the canvas the lessons of simplicity and lyricism he had acquired in Andalusia.
This enthralling narrative unfolds in the rooms of the Palazzo dei Diamanti, interwoven with Sorolla’s life experiences and contemporary culture, through a selection of about 60 paintings and a small selection of drawings and documents, coming from public and private collections, foremost the Museo Sorolla.
From 20 July to 9 October 2011 - Caixa Forum Barcelona
The Belle Epoque? Those mind-blowing years before the cataclysm of World War One. People danced, drank, dressed sumptuously, raced in Bugattis, went to the seaside … What we all remember from those years is the birth of Cubism, with Picasso and Braque or the first steps of Futurism, under the baton of Marinetti, and even Surrealism. Actually, overshadowed by these movements there were others that were highly more appreciated, such as la society painting. The role of the artists shown at Caixa Forum was similar to the one played by today by magazines such as Gala, Gente, Ola, OK or Hello! They give an ideal, appetizing, distinguished image of stars and royalty. The choice shown was made starting with the best interpreters: from Sorolla to Toulouse-Lautrec, from Steinlen to Sargent and Serov, we drift among some of the best interpreters of portraits in the XXth century.