Tag: michelangelo

Art Return to Art – Firenze – Italia

Louise Bourgeois, Arch of Hysteria, 1993. Courtesy Cheim & Read and Hauser & Wirth. Photo: Allan Finkelman - ©Louise Bourgeois Trust- Louise Bourgeois Trust/VAGA, New York, by SIAE 2012


From May 8 to November 4, 2012 – Galleria dell’Accademia – Firenze

The exhibition Art Returns to art, curated by Bruno Corà, Franca Falletti and Daria Filardo, will see the installation in the rooms of the Galleria dell’Accademia of works by: Francis Bacon, Louise Bourgeois, Alberto Burri, Antonio Catelani, Martin Creed, Gino de Dominicis, Rineke Dijkstra, Marcel Duchamp, Luciano Fabro, Hans Peter Feldmann, Luigi Ghirri, Antony Gormley, Yves Klein, Jannis Kounellis, Ketty La Rocca, Leoncillo, Sol LeWitt, Eliseo Mattiacci, Olaf Nicolai, Luigi Ontani, Giulio Paolini, Claudio Parmiggiani, Giuseppe Penone, Pablo Picasso, Alfredo Pirri, Michelangelo Pistoletto, Renato Ranaldi, Alberto Savinio, Thomas Struth, Fiona Tan, Bill Viola, Andy Warhol.

Louise Bourgeois’s Arch of Hysteria, hung with all its charge of “life’s emotional frenzy” in front of Pontormo’s Venus and not far from Michelangelo’s David,will offer definitive proof of how the naked form of the human body can be used to express concepts and stir sensations that are vastly different. And the effort to bring form out of brute matter, something which obsessed Michelangelo all his life, seems to still weigh heavily today on the shoulders of Giuseppe Penone in his arduous hollowing out of massive tree trunks, just as it is echoed in the forms carved out of concrete by Antony Gormley.

Giulio Paolini’s L’altra Figura will be located almost opposite Bill Viola’s video Surrender: two contemporary ways of reappraising and interpreting the theme of mirroring and reproducibility that lead, in the left arm of the Tribuna, to the 19th-century Salone dei Gessi, filled with plaster casts that were created so lely to be reproduced.

The theme of reflection is also explored in Alfredo Pirri’s floor of fractured mirrors, in Olaf Nicolai’s work Portrait of the Artist as a Weeping Narcissus, whose tears ripple the surface and alter the reflected image, and in Michelangelo Pistoletto’s mirror picture Sacra conversazione, which includes us in a conversation of the present day.

Metaphorically, mirroring becomes a merging with the gaze of the visitor, who is conceptually made part o f the creative process in Rineke Dijkstra’s video installation that tells of a slow observation and reproduction of one of Picasso’s pictures, in Thomas Struth’s photo in front of Dürer’s self-portrait and in Martin Creed’s performance with athletes running swiftly through the spaces of the gallery.

Marcel Duchamp, L'invers de la peinture, 1955 circa, 73,5 x 48 cm ,private collection, by courtesy of collector


Th
e reproduction, repetition and circulation of images in the history of art is tackled from a critical perspective in the works of Marcel Duchamp, Andy Warhol, Luigi Ghirri, Hans Peter Feldmann and Ketty La Rocca, which refer directly to icons familiar to everyone. In his Untitled, Jannis Kounellis will recall the iconography and sense of tragedy of the Crucifixion, a theme tackled in a different way in Alberto Burri’s work and in Renato Ranaldi’s Triumphans, while the gold or ultramarine monochromes of Yves Klein can be related to the gold grounds of the 14th-century altarpieces.

Yves Klein, L’esclave de Michel-Ange, 1962, pure pigment and synthetic resin on synthetic resin, 60 x 22 x 15 cm, © Yves Klein, ADAGP, Paris


T
he casts of the David’s eyes in Claudio Parmiggiani’s work po se the problem of the fragment, while Leoncillo and Luigi Ontani’s images of Saint Sebastian present different visions of that sacred iconography. The gaze at the past will appear emblematic and mysterious in Alberto Savinio’s Nettuno Pescatore as well as in Gino de Dominicis’s Urvasi e Gilgamesh. Interesting reflections on the work of the past will also be provided by Francis Bacon’s Figure sitting (the Cardinal), Pablo Picasso’s Arlequín con espejo and Sol LeWitt’s drawings of Piero della Francesca’s frescoes, as well as by the ovoid volumes of Luciano Fabro’s Il giudizio di Paride or Eliseo Mattiacci’s large iron sculpture Carro solare del Montefeltro. Memory as recognition of origins will be the focus of Fiona Tan’s film Provenance, and the classical elements of museum architecture are the form out of which Antonio Catelani develops his Klettersteig. (©Art of the Day)

Firenze Musei


The soul and the forms from Michelangelo to Klimt – Forli – Italy

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


A
fter 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.

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Raphael: Cartoons and Tapestries for the Sistine Chapel – London – England

The Miraculous Draught of Fishes Photo © Vatican Museums


From the 8th of  September to the 17th of October 2010 – Victoria and Albert Museum

This is a display of four of the ten tapestries designed by Raphael for the Sistine Chapel in Vatican City. These are the original tapestries from the only series designed by Raphael of which examples survive, and are comparable with Michelangelo’s Sistine Chapel Ceiling as masterpieces of High Renaissance art.

The tapestries are displayed alongside the full-size designs for them – the famous Raphael Cartoons, which have been on display in the V&A since 1865. This is the first time that the designs and tapestries have been displayed together – something Raphael himself never witnessed. The tapestries have not been shown before in the UK.

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