Quakers believe that a garden should respect a divine order in which science, beauty and religion interact. I find that this is still the case today, and it is to the credit of the University that it has not turned it into a park or tried to make money out of it, but rather left it as close to nature as possible, so that it maintains a spirit of stillness and timelessness.
The 60th International Art Exhibition, titled Stranieri Ovunque – Foreigners Everywhere, will open to the public from Saturday April 20 to Sunday November 24, 2024, at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia. The pre-opening will take place on April 17, 18 and 19; the awards ceremony and inauguration will be held on 20 April 2024.
On 21 September 2023 the Colosseum Archaeological Park opened the Domus Tiberiana to the public, almost 50 years after the onset of the serious structural problems that had led to its closure and following important restoration interventions.
Miuccia Prada has formalized her role as Fondazione Prada’s Director and confirmed her personal commitment to present and future projects, as she has done in the last three decades.
Today, the collection comprises more than 6000 objects including paintings, sculptures, ceramics, glass, weapons, gold, watches and textiles. For each collection, the museum holds extraordinary masterpieces, considered by critical literature to be the most important in the world. (…)
The decision to collect for Paolo Tosio came after an exciting stay in Rome, a stop along with Florence and Naples on the artistic journey he made between 1807 and 1808 with his wife Paola Bergonzi. He only went there once, but that was enough to make him fall in love with ancient art and Raphael, but also with contemporary art, because it was in Rome that he got to know and frequent the circle of artists who were most avant-garde at the time.
The people of Bologna, those who live in this city, must perceive the Pinacoteca as a place that belongs to them, not only because it is a public institution, but also because it preserves a collection closely linked to the territory, which tells its story through artistic documents of the highest quality from the 14th to the 19th century.
Our aim is to offer the national museum system as a whole new professionals, and at the same time to intuit what will be the professions of tomorrow, in the knowledge that different disciplines need to be networked. (…) The School wants to be the bearer of cultural values that go in this direction, that is, to dialogue, to connect, to relate what we considered distant until a few years ago. A mission that I believe is important.
The Accademia Carrara’s holdings consist of 98% private bequests. Since its foundation, there have been more than 260 donors, with an admirable adherence to Giacomo Carrara’s project that has continued for more than two hundred years, and that has led to the identification of the Carrara with the “museum of collecting”.
To an art lover, getting lost in TEFAF is like being locked in a chocolate shop if you have a sweet tooth. A triumph of sensations that overlap one after the other until they stun you, make you intoxicated with shapes and colours. (…)
Just after the Second World War, during the process of reconstructing the cultural life of Italy, newly opened up towards democratic life in the rest of Europe and in the United States of America, there was a longing and craving to overcome the living conditions that had come about during the War. This was witnessed in the cinema, in literature and in the visual arts and it produced a general thirst for a renewal of society.
From 1948 in Rome, in particular, the artistic community hosted the likes of Afro, Capogrossi, Scialoja, Burri, Mafai, Cagli, Mannucci, Colla, Prampolini, Dorazio and his group Forma 1 (with Accardi, Turcato, Perilli, Consagra, Sanfilippo, Maugeri, Guerrini and Attardi). All of this energy was able to produce a propulsive “climate” thanks (…)
De Chirico resorts to deception, first with paintings from his family childhood and then in his metaphysical canvases, where he always talks about himself. In the very first years of the decade, Picasso notices him when he is barely twenty. In some way, since 1913, he is kept under observation by Guillaume Apollinaire, an equally saturnine and shrewd genius. Thus, the myth of de Chirico was immediately born, with his contradictions and mysteries.
In Tsarist Russia, which competed in glitz and opulence with the great European courts between the Belle Époque and the Bolshevik Revolution of 1917, Peter Carl Fabergé was regarded as one of the greatest goldsmiths and jewellers of his time. His works interpret 18th-century French art through the Russian folk vision, and are influenced, especially in their ornamental motifs, by the severe style of the Empire as well as the floral sinuosity of Art Nouveau.
The large fresco applied on canvas (225 x 370 cm) entitled I poeti salgono gloriosi il Parnaso ove si innalza il tempio di Apollo and dated 1765 (on the open book to the left of the De tranquillitate animi) (lot 170, estimate 30,000 – 50,000 euro) is the most famous work by Enrico Albrizzi (Vilminore, 1714 – Bergamo, 1775) and was painted in 1765 to decorate the ceiling at the top of the staircase on the second piano nobile of Count Romili’s (now Marenzi) Palace in Bergamo.
When she was at the height of her fame in the 1930s, the voluptuous and uninhibited Hollywood star May West loved to say maliciously that “I’ve always had the feeling that a piece of jewellery given as a gift shines much brighter than one you bought yourself”. After almost a century, now as then, a jewel can be a sparkling promise of love that is perpetuated in time. In the moment it is received, it eternalises the happy amazement, the uncontrollable frenzy, the childish enthusiasm to wear it. A feeling that is always perpetuated, as well as the feeling of the donor.
Wannenes, an international Italian auction house, is about to launch a new initiative: the first web live auction in Italy entirely dedicated to Phygital Art, scheduled for 30 May 2024 at 4pm. Living in a time of change and innovation, Wannenes wants to introduce its collectors to a new artistic trend capable of bridging the gap between the tangibility of traditional art and the technological potential of NFT.
A star and sex symbol of international cinema, Lollo was, along with Sophia Loren, the image of Italian beauty in the 1950s and 1960s. Between sumptuous dresses and suits, jewellery and stiletto heels, hats and scarves, elbow-length gloves and plunging necklines, Gina Lollobrigida became the diva everyone wanted to court.
Andrea Brustolon (Belluno, 1662 – 1732) was one of the great protagonists of late Baroque sculpture in the Veneto region between the 17th and 18th centuries. He was a pupil of Filippo Parodi in Venice, who gave him a liveliness and elegance of composition that has always remained in his style, and a memory in his mature phase of the Gothic memories and the presence of other artists, such as the painter and friend Gaspare Diziani.
In the post-war Rome was born a completely original creative project, whose aim is to encourage famous artists to work in the rare field of goldsmith.
