Given the high number of accessions to the proposal, the meeting will be held on Sunday in ordinary extraordinary form for an afternoon that will annoy the culture in various forms.
We will start with an interference at the Banquet used books in Piazza Diaz , led by our Founding Father Tarabas, then go to lunch and move towards Palazzo Reale in Piazza Duomo : here, the Bolger will be introduced by deception at an exhibition and let go to all the comments that may arise from the combined action between the householder's guide and inspiration of the moment. Do not pay, the Bolger then moves to an action of food and wine prior to disturbance, presumably in the direction of an ice cream shop or the like, and then devote himself body and soul to the disorder of the Ninth Muse. Conclude with a dinner.
summarize the program's cost:
- 11.30 am, Piazza Diaz - visit the stalls of the book used,
- at 15.30, Dome Square - meeting in front of Royal Palace for the exhibition of women's art ;
- time and place to be determined to be defined - film (guess what? to be announced);
- at the end of the film - dinner.
remember that anyone can join at any time of day, whether it be animal, vegetable or mineral.
Here, finally, a description from the site of the exhibition and video of the response. They are generally not inclined to appreciate the "reverse discrimination" to which work should be interesting only because it operates regardless of a woman. However, this particular show (apart from the critical path) they told me good things, both as regards the setting that as regards the selection of works. And if you lack the critical part - which I think can read the presentation below - do not doubt that your householder knows a couple of tasty anecdotes with which to rejoice the visit. All that anyone has ever said about the painting and that probably would not have even wanted to know.
"Certainly in no other age," he was able to write Giorgio Vasari in his Lives , "what hath been better able to know that in our, where women have bought very large letters." The exhibition therefore could not take that right from the beginning Renaissance, when, in Italy and Europe, the case of a woman artist was no longer, as in the Middle Ages, an isolated phenomenon.
Sofonisba Anguissola and Lavinia Fontana are some of the first Italian artist active in the sixteenth century.
mythical figure, for he has received very old and blind, the gift of a visit by Anton van Dyck , Sofonisba Anguissola (c.1535-1625), Cremonese, specialized, like her sisters, especially in portrait and nell'autoritratto, introducing a theme that will, in the biographies of artists, a special importance and a precise meaning, destined to become one of the main areas of women's production to this day. "Dama de honor de la Reyna" of Spain, Anguissola, of which we expose two of the major works (Self-portrait at the easel Chess game and ) was the first woman to enjoy the support of European monarchs.
Lavinia Fontana (1552-1614), its almost the same age in Bologna, in turn, became official portrait painter of the noble families of the city. The daughter of one of the leading Mannerist Bolognese very active in Rome in mid-sixteenth century, Lavinia was formed at the school of his father, inspired by an eclectic models that connected to the Tuscan-Roman and the first hints of Parma that new spirit that would feed the "reform" of the Carracci .
was very common that the artists were daughters, sisters and wives of artists.
is the case of Marietta Robust (C.1550-1590), daughter of Tintoretto , known as Tintoretto, with his bright this portrait of Uffizi Gallery, which nods to his musical education, in accordance with the rules of educational time . But it is the Roman
Artemisia Gentileschi (1593-1654) to have played a key role in the affirmation of the woman artist, not only because it was a great painter, but also because she was inspired, in the seventies of last century, a new interest in feminist and social nature, on the whole world of women in the arts. The daughter of Orazio Gentileschi, Caravaggio, the first time, endured violence by Agostino Tassi, a painter refined, and denounced him. The proceedings of the trial for the rape is one of the first documents of this type and explains the dark charm that, by joining one of his paintings, became a timeless heroine. He continued to paint scenes where blood gutter purple and left some of the most amazing images of Judith, the biblical heroine. Judith, Susanna, Bathsheba become the favorite subjects of Artemisia and seventeenth-century artists, who chose to represent very exceptional women in the history of classical and biblical stories, femmes fortes where they identified their own destiny.
Sirani Elizabeth (1638-1665), daughter a painter, a pupil of Guido Reni , Giovanni Andrea Sirani , had a completely opposite fate to that of Artemisia. Devoted only to his art, he lived only twenty-seven, working tirelessly, but died suddenly, and there was talk of poisoning. He entered into legend: she was a woman, was a painter, was the daughter of a painter. Death Young added an aura to his figure, and the suspected poisoning turned the whole thing in yellow. In the eighteenth century
the stage of women art opens to receive outstanding products, such as Italy's Rosalba (1675-1757) specialized refined the technique represented here by a beautiful pastel portrait and a Portrait of a man who was active in the major courts of Europe, from Paris to Vienna and the Swiss Angelica Kauffmann (1741-1897), cultured interpreter of early neoclassicism still imbued with the Rococo, wonderfully represented in the two works on display, and Erminia Immortality.
With ' nineteenth s'infoltiscono the ranks here so Berthe Morisot (1841-1895) sister of Edouard Manet and star of' Impressionism and its battles, specializing in the performance of domestic and intimate issues, and the American Mary Cassatt (1845 - 1926) discovered by Degas, and he introduced into the Impressionist.
Suzanne Valadon (1867-1938), mother of Maurice Utrillo , he was intelligent balance between the two centuries, much to anticipate many of the Fauves, or cubist visions. In the same year saw the tormented life of Camille Claudel (1864-1943) most of the nineteenth century sculptor, whose life was marked by the relationship with his master Auguste Rodin . The show features the famous portrait of the young student performed the master, and a bronze depicting La Valse . Great sculptor, powerful craft, a tireless worker, was the only woman of the atelier of Rodin, who could cut its marble - a task by men. At the same time is very sensitive and delicate interpretation of a measure that declined the most modern model Rodinia in the gradient of the curves and decorative motifs: stentorian tone down the monumental and the teacher, to find strength even in a smaller sculpture.
This leads to the twentieth century, through the work of elegant Elisabeth Chaplin (1890-1982), artist born French but Italian culture, which we expose two masterpieces from the Gallery of Modern Art of Palazzo Pitti , the first avant-garde and English Vanessa Bell (1879-1961), the protagonist, with her sister Virginia Woolf , an extraordinarily lively movement of the century England.
German as Gabriele Münter (1877-1962), Marianne von Werefkin (1860-1938), Paula Modersohn-Becker (1876-1907) and Käthe Kollwitz (1867-1945), present with a large group of works, the protagonists lived by the cosmopolitan atmosphere of Germany's first expressionism competing with the Italian women first launched in the enthusiasm of the media futurism .
Meteors discordant , Tamara de Lempicka (1902-1980) and Frida Kahlo (1907-1954) with works not only disconcerting, but also with their biographies. Authors of the highest individuality, were able to draw lines between the unique and independent of the current century. The twentieth century
opens the complexity of contemporary submitting entries scattered, no longer sorted, nor nation, nor of trends, such as Meret Oppenheim (1913-1985), an undisputed star of experimentalism to always' avant-garde.
accompanies the exhibition catalog Motta publisher.
