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1600: The Era Of Van Dyck / 1900: The Journey

La Città di Desenzano del Garda (Bs) prosegue il programma di esposizioni culturali presentando, dal prossimo 12 agosto, la doppia esposizione dal titolo “1600: l'epoca di Van Dyck / 1900: il viaggio da de Chirico”. Organizzata dall'Assessorato alla Cultura e prodotta da MV Arte, la mostra sarà curata da Pietro Quattriglia Venneri e Matteo Vanzan con interventi a catalogo di Francesco Boni e Michele Ciolino. Ospitata presso il Castello, l'esposizione sarà strutturata in due sezioni distinte, ma collegate tra loro, che si articoleranno nei due piani della sede espositiva: la prima sezione sarà dedicata alle opere del Seicento nazionale ed internazionale, mentre la seconda ospiterà le ricerche pittoriche relative ai primi quarant'anni del Novecento italiano in un excursus complessivo di 50 opere. Fil rouge della mostra sarà la riflessione sulla pittura del Realismo nata nel Seicento con la stagione barocca e delle sue conseguenze dirette sulla pittura dell'epoca per arrivare alle porte del Novecento quando la realtà, sondata da Giorgio de Chirico, sarà filtrata con l'introspezione dell'inconscio. De Chirico, grazie alla sua pittura di matrice classicista, diventa un punto di congiunzione tra le due epoche teorizzando una Metafisica che influenzerà la nascita del Surrealismo e, assieme a Francis Bacon, del Realismo esistenziale; allo stesso tempo Giorgio de Chirico sarà fondamentale per un Ritorno all'ordine che darà vita al Realismo Magico e alla Nuova Oggettività tedesca. 4.636 / 5.000 Risultati della traduzione Risultato di traduzione The City of Desenzano del Garda (Bs) continues its program of cultural exhibitions by presenting, starting next 12 August, the double exhibition entitled "1600: the era of Van Dyck / 1900: the journey from de Chirico". Organized by the Department of Culture and produced by MV Arte, the exhibition will be curated by Pietro Quattriglia Venneri and Matteo Vanzan with interventions in the catalog by Francesco Boni and Michele Ciolino. Hosted at the Castle, the exhibition will be structured in two distinct but interconnected sections, which will be divided into two floors of the exhibition venue: the first section will be dedicated to national and international seventeenth-century works, while the second will host pictorial research relating to the first forty years of the Italian twentieth century in a total excursus of 50 works. The common thread of the exhibition will be the reflection on the painting of Realism born in the seventeenth century with the Baroque season and its direct consequences on the painting of the time to arrive at the gates of the twentieth century when reality, explored by Giorgio de Chirico, will be filtered with introspection of the unconscious. De Chirico, thanks to his classicist painting, becomes a point of conjunction between the two eras by theorizing a Metaphysics that will influence the birth of Surrealism and, together with Francis Bacon, of existential Realism; at the same time Giorgio de Chirico will be fundamental for a Return to order which will give birth to Magical Realism and the New German Objectivity. "The goal" affirms the Councilor for Culture of the Municipality of Desenzano del Garda Pietro Avanzi "was to raise the level of the exhibitions, to raise the quality of the exhibitions offered in the Capital of Garda, a City that wants to be such also in the Culture sector. And with "1600 - 1900,the Time of Van Dyck, the Journey of De Chirico" organized by Matteo Vanzan, which now represents a certainty and a guarantee for all of us, we have reached the top. Not only for the names that we will see on display, but also for this four-century-long journey that is traveled through masterpieces that have marked our modern and contemporary age. I am especially happy that the exhibition will remain until October which for Desenzano is a less touristy month than those summer, but which will still be able to attract many people thanks to an exhibition of this caliber, favoring the so-called cultural tourism. " “This exhibition” says the curator Pietro Quattriglia Venneri “arrives just like a comet falling from the sky: unexpected, disruptive and beautiful. A daring journey that moves from some of the most important paintings of the seventeenth century, post-Caravaggio and Baroque, to the most daring contemporary examples, in a labyrinth of everlasting images. In a world that wants to see everything in watertight compartments, this event is instead capable of bringing attention back to a general reading of artistic phenomena over nearly four centuries. Van Dyck, Tiarini, Reni and Guercino are just some of the names that make up the Old Masters section, reconnecting in a completely harmonious way to the works selected to represent the modern and contemporary world. They tell us stories that aren't that far from us, and I'm not speaking exclusively in chronological terms. The aim is to visit the exhibition carefully, to linger on the fundamental paintings of the itinerary, trying to change the point of view of a society that requires us to be increasingly specialized with the risk of losing the general vision of the evolution of things, in the history, in the economy, in society as in art”. “This exhibition” continues Matteo Vanzan, director of Mv Arte, “wants to tell the story of the adventure of a silent but ever-present world that accompanies the outcomes of a branch of art history: that of the birth of seventeenth-century Realism and its future developments in a pictorial practice which, just like life, is lived by taking into consideration the fundamental elements without which art could not exist: man and his emotions. Artists such as Van Dyck, Guercino, Giovanni Andrea Ansaldo, Peeter Maurice Bolckmann, Alessandro Tiarini and, in the twentieth century, Giorgio de Chirico, Ugo Celeda da Virgilio, Renato Guttuso, Renzo Vespignani, Alberto Sughi, Gianfranco Ferroni, Salvador Dalì, Joan Mirò have able to tell life outcomes and reflections on the human condition in the union of intentions which, from seventeenth-century Realism, reaches up to the present day in the intertwining of man, nature and existence in a world increasingly wrapped up in the meanders of the unfathomable". The Protestant reform definitively condemned by the Council of Trent in 1561 produced profound effects in the artistic field. In Italy, the seat par excellence of catholicity, the theses of the council on art for the people, give life to a real art of the counter-reformation, especially in the pictorial field, since painting is the most direct media element of approaching the people to religious beliefs. The request for religious paintings with extremely usable messages, in a more modest, less dazzling style, with plenty of examples of miraculous interventions and episodes of holy charity, which reiterate the Catholic cult of saints and the redemptive value of good deeds, as opposed to heretical reformist doctrines. But, at the same time, the Counter-Reformation favored the process of progressive abandonment of the Renaissance principle of art as a representation of the plausible, as an idealization of reality, to leave room for the idea that art must approach reality in a more naturalistic and immediate way. . Starting from Mannerism, a genesis of the Baroque can be sketched as a renewed sensitivity to nature, beyond predetermined styles and forms, of which the Mannerist crisis had revealed the usury, through the repetition of now exhausted modules. The aesthetic and cognitive crisis of mannerism, the religious and political crisis of the Counter-Reformation stimulate an internal critique of the classical canons and forms of expression that re-evaluate sentiment and appearance: the ratio of nature and forms is no longer investigated, but a new emotional and formal relationship between man and things. For this substantial renewal we will make use of all those different means that a skillful technique up to illusionism makes available to the Baroque artist. Since the seventeenth century, Realism has come down to us with a new awareness declining, through Giorgio de Chirico and Francis Bacon, in different ideas that find, as a common point, the reflection on man and society. Existential Realism, Magic Realism and Social Realism wisely show us how reality can be used by the artist as a pretext to tell a world full of frustrations and defeats, joys and rebirths in the common intention of launching a message of hope which, through brushstrokes, can open your eyes to the need to change things towards a better future. In painting the intimate nature of man is externalized and used to launch not too veiled warnings and messages against a sick society full of contradictions. Art becomes the bearer of messages and challenges, enigmas and cosmic abysses in which the authors' alienations are rooted in everyday life. An expressive research based on social ethics and anthropological rethinking in the hope that man will never forget the inner forces capable of morally elevating us to the point of touching the transcendental: Giorgio de Chirico himself was the protagonist of this unfathomable state of being embroidered on a character similar to a gray rainy day.