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…)

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