INSIDE THE VATICAN PALACES #2 / EXCLUSIVE: THE FRESCOES BY MICHELANGELO IN CAPPELLA PAOLINA (LIMITED ACCESSIBILITY AREA)

I recently had the honour to meet Pope Francis for the presention of the biography I wrote about him. The private encounter took place in Casa Santa Marta, an unpretencious house where he usually lives. Before the encounter I had a very special gift: the possibility to visit some of the beautiful rooms in the Apostolic Palace in Vatican City. I been also in the enchanting Cappella Paolina (the Pauline Chapel) to admire the incredible fresco paintings by the Italian Renaissance master Michelangelo Buonarroti : The Crucifixion of St. Peter (c. 1546–1550) and The Conversion of Saul (c. 1542–1545).

Being a sacred space, Pauline Chapel is a limited accessibility area. Despite the efforts of contemporary scholars to illustrate the genius behind these two works, they remain relatively obscure. This is due primarily to the fact that tourists are not permitted to enter the Pauline chapel because it’s a worship space. Most of those who do know of these works will never have the opportunity to see them in person. According to Williams no other work by Michelangelo has ever been so grossly misrepresented in reproductions. The only way to view these works as the artist intended them to be seen is to see them in situ.

The Crucifixion of St. Peter is the last fresco executed by Michelangelo. The artist portrayed St. Peter in the moment in which he was raised by the Roman soldiers to the cross. Michelangelo concentrated the attention on the depiction of pain and suffering. Pope Paul commissioned this fresco by Michelangelo in 1541 and unveiled it in his Cappella Paolina. Restoration of the fresco completed in 2009 revealed an image believed to be a self-portrait of Michelangelo himself. Vasari states about the fresco: “There are no landscapes to be seen in these scenes, nor any trees, buildings or other embellishments and variation”.

The positioning of St. Peter himself is often noted as the most interesting innovation Michelangelo implemented in this piece. He defied convention by positioning Peter’s upper body so that it cranes upward and twists his neck around so that his eyes make contact with the viewer.

The Conversion of St. Saul or St. Paul  is often discussed in conjunction with The Crucifixion of St. Peter. As its title suggests, the fresco represents the conversion of a lawyer from Tarsus named Saul (a man who prosecuted Christians) into a follower of Christ. In the book of Acts, Paul states that he saw an impossibly bright light and heard the voice of Christ himself. The blindingly bright light is the Apex of this story. The style is more mannerist than his earlier Sistine Chapel frescoes, and was not as well received by contemporaries.

Giuseppe Frangi (30 Giorni) writes: “On 25 January 1540, the Feastday of the Conversion of St Paul, until then celebrated in the Basilica of St Paul Outside the Walls, Pope Paul III Farnese consecrated to the saint whose name he had taken, the new parva (small) chapel, commissioned from Antonio da Sangallo the Younger and built in just three years in the heart of the Papal Palace. The chapel – parva as opposed to the chapel magna, the functions of which had been taken over by the Sistine – was the chapel intended for the conclave. And above all it was the place where the Blessed Sacrament was kept, for which purpose it had been fitted with both an altar and a tabernacle. When Paul III consecrated it, the chapel had no decorations, but it was clear who would climb the scaffolding: it was again up to Michelangelo, just down from the scaffolding of the Sistine Chapel, where he completed the great toil of the Last Judgment”.

 The reconstruction of the work – Frangi states – done day by day, made possible by modern restoration techniques, shows Michelangelo was capable of getting through a large amount of work in a day. Eventually there were 172 working days (85 for the Conversion of St Paul and 87 for the Crucifixion of St Peter), spread over seven years, with the break in 1544, when he was halted by health problems. These frescoes were largely ignored for centuries and incurred a great deal of damage due to neglect. In the early twentieth century there were some scholars who came to reconsider the frescoes under the new light of expressionism and abstraction.

William Wallace proposed an entirely new perspective on the subject claiming that the disproportionate quality of the figures is not a failing on the part of Michelangelo, but rather another instance of his genius. According to Wallace, the real innovation in this piece comes from the incorporation of time and space in the overall composition of the frescos. In addition to conceiving of these frescoes in terms of perspective, Michelangelo also took into consideration the architectural and environmental context they were to be set in.

After the last restoration Pope Benedict XVI said: “The two faces are opposite each other. One might therefore imagine that Peter’s face is actually turned towards the face of Paul, who, in turn, does not see, but bears within him the light of the Risen Christ. It is as though Peter, in the hour of supreme trial, were seeking that light which gave true faith to Paul”.

(2 – To be continued)

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“THIS IS THE WAR…”: MY FATHER IN THE HELL OF KEFALONIA (SEPTEMBER 1943). REMEMBERING A TRAGEDY…

Kefalonia massacre happened exactly seventy years ago. My father Battista is a survivor of that terrible tragedy in which died about 9.000 Italian soldiers (September 1943) killed and exterminated by German Nazis.  I gathered his incredible story in a little book with the title : “Mio padre nell’inferno di Cefalonia” (English translation: My father in the hell of Kefalonia). Beneath you may read an  English abstract of the story. It’s a message for every people in the world. My father loves to repeat: “War is the worst thing in the world. Why are we so stupid to do it?” 

***mio-padre-nellinferno-di-cefalonia

MY FATHER IN THE HELL OF KEFALONIA

 A survivor memory, an unpunished massacre

and the State conspiracy of silence

BY ROBERTO ALBORGHETTI

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My father Battista told me…  A nightmare. This is still for me, Kefalonia. I’m a survivor. I was in that hell from November 1942 to November 1944, along with other 11.600 Italians. After September 8, 1943 – as a result of our refusal to surrender to the German army – about 9-10.000 Italian soldiers were massacred. A terrible massacre, that still remains in my eyes and on my mind. There are so many images about those awful days of terror: stories of war and death, written in the blood of so many young people who pursued the dream of a better Italy. I was nineteen years old when I was assigned to the Divisione Acqui – at 33th Artillery, First group, Second battery – on the Greek-Albanian front, already controlled by German Army. The armistice proclaimed in Italy by general Badoglio (September 8, 1943) changes our destinies. Germans claim our surrender, but they do not offer enough guarantees about Italian troops repatriation. Italian officers called a consultation between the military departments: it’s an unprecedented event in the modern army history. We decide to refuse surrender and not to give our weapons to the germans. And after that, the Apocalypse…

An historical photo: Battista Alborghetti (first on the left) and five fellows in Cefalonia in 1943 before the massacre.

An historical photo: Battista Alborghetti (first on the left) and five fellows in Cefalonia in 1943 before the massacre.

In the early hours of the battle I see my three companions dying. They fall down close to me. Some minutes later, a splinter of a grenade explosion hits my left leg. The Acqui Division – poor in weapons – is destroyed. People who do not succumb in the fighting they become prey of the Wehrmacht. German soldiers rakes the island, inch by inch. I escaped from the capture in a couple of occasions; I hide myself between mules and I repaire inside water pipes in the undergrowth. They capture me on September 21.

About 300 Officers (captains, lieutenats and second lieutenants) were captured and transferred to the sadly known “Red House”, in San Teodoro. Against every principle of the international conventions, they were shot within 36 hours, four people at a time… The corpses, weighed down with rolls of barbed wire, they were then thrown into the sea, sprinkled with petrol and burned in bonfires, whose light illuminated the night, leaving a foul smell in the air.

My companions were loaded onto trucks and taken somewhere: I won’t see them anymore. My friend, the second lieutenant Giampietro Matteri – from Dongo (Como), twenty-two years old – is killed on September 24. The same destiny for another friend, the second lieutenant Pillepich, from Trieste: I still remember the terror in his eyes when, together with eleven companions, he was dragged from the group. Few minutes later we heard the shots of machine guns, followed by cries of pain, yells, invocations. And then other shots. The finishing strokes.

At the concentration camp we were treated worse than beasts. In the morning, Wehrmacht officers assembled us, offering – as they were saying – “the chance to return to Italy”. But I always said to myself: if they want to kill me, I prefer that they do it here. We now know: who accepted that proposals were shot. They were shipped on steamers, as easy targets for Stukas airplanes or for floating mines. It’s what that happened to my compatriot, Ferdinando Mangili. He climbed aboard of one of those ships that were full of soldiers who looked forward to reach home… But the ship was sunk off and the waves returned the corpses… The Germans forced me to bury the dead, all around the island. Chaplain father Luigi Ghilardini and I, we recomposed corpses or what was left of bodies mangled by bullets and then devoured by ravens and vultures…

One day the nazis picked up us suddenly and they brought us in the square of Lixouri, where they deployed 13 Greeks accused of being partisans. Those poor people were hunged under our eyes. It happened that one of them – because of a broken rope – fell to the ground. He was still alive. Nazis soldiers took him and hung him again… If at that moment I had been given a stab, I would release even a single drop of blood, so I was shocked.

In October 1944, nazis abandoned Kefalonia: they were moving to other fronts. We remained on the island for nearly a month, as forgotten people. We scanned the horizon, waiting for a ship. We wanted to end this terrible experience. Finally on November 13, the Garibaldi and Artigliere ships landed to Argostoli ‘s port. We embarked to Taranto, but to be back home I will have to wait till June 5, in 1945. The war stole me everything but the joy to be back home, as well as the inability to forget Kefalonia, the dead, the extermination, the ferocity.

No medal, no bonuses, even no official apology from the German State – apology always denied, but never officially requested by Italy – can never compensate what was removed to thousands of young people, to thousands of families. Inside me, in addition to horror, remains the strength to repeat that all this cannot longer occurs. Never again. Never again. Never again.

© Copyright Roberto Alborghetti

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About Italian Division “Acqui” and Kefalonia Slaughter

http://www.associazioneacqui.it/

http://www.divisioneacqui.com/

http://www.mediterraneoass.com/

SIENA (ITALY) / : VISITING “THE GATE OF HEAVEN” AND CARAVAGGIO MASTERPIECE: ST. JOHN THE BAPTIST, “THE DIVINE BEAUTY”

Caravaggio, San Giovanni Battista, St. John The Baptist

Photos: Courtesy of Opera Duomo, Siena – Press Office

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Guest Writer: Carmelina Rotundo

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 A gently sloping green landscape where olive trees enrich the sscenery, isolated hamlets: in the tangle of branches the buds and flowers in soft clusters along with leavesare reawakening. Here and there, the cypresses, some young, others ancient; the bare geometric vines delineate spaces to then leave room for a forest; the shining yellow; I love this interplay of intertwining branches;more cypress trees in corona, others solitary in the foreground next to glimpses of churches.
How the vineyards climb, and even more bunches of small yellow small flowers glow. Now the landscape is dotted with buildings, factories, now crowded with houses, steeples; the big glass building of Montepaschi Siena stands out.
It is beautiful, this letting go into the weight of a Firenze-Siena journey, united towards the goal: Caravaggio, the painter of the brush of light, that artist that remained in my vision, in my heart when, in the Basilica of Santa Maria del Popolo in Rome, unforgettable, the conversion of Saint Paul appeared to me: a moment of light in time and space; the conversion had so touched Caravaggio.
I continue the climb, up, up to the “Gate of Heaven” where one gaze embraces little Siena from the North, South, East and West, and the tiles as they let themselves be caressed by the Sun; each ray today made luminous the Torre del Mangia; the only one so close to heaven, celestial blue now, the gaze now flies across rooftops of Siena Convent of San Domenico, the Apuan Alps. I cannot be still and I move on the terraces and into the attics that conserve old machines, tools that, used by the hands of skilled stonemasons, managed to obtain miracles from matter.
The gaze returns to inside the Cathedral; the stained glass windows arelight and color;  the arches, marble columns are elegance; statues I now face, at the same height, and from the rooftops, with the gaze and heart that flies from roofs, in the sky we descend into the cave of the heart of the Duomo di Siena, in the crypt where, in silence and in meditation, he appears to me, by Caravaggio: St. John the Baptist.
That brush of light once again sculpts the form: idea-imagination-creation of a work of art that, launched into time, has been enriched by the looks of the citizens of the world who have admired it, always discovering something new and old, strong and sweet, and that light that was caressing therooftops of Siena. Caravaggio imprisoned and “carved” it into his St. John the Baptist.

http://www.operaduomo.siena.it/

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SIENA CATHEDRAL, APRIL17-AUGUST 18, 2013 

Caravaggio (Michelangelo Merisi, Milano 1571 – Porto Ercole 1610)

San Giovanni Battista, 1602-1603,olio su tela, cm 129 x 95

Roma, Pinacoteca Capitolina.

 

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Le immagini sono state fornite  dagli Organizzatori dell’evento, ad esclusivo utilizzo collegato alle esigenze di Ufficio Stampa dell’iniziativa medesima. La possibilità di utilizzare questa immagine è riservata unicamente al fine di corredare con la stessa servizi, articoli, segnalazioni inerenti la mostra cui si riferiscono. Qualunque diverso utilizzo è perseguibile ai sensi di Legge ad iniziativa di ogni avente diritto.

 

 

FROM THE BIRTHPLACE OF SHAKESPEARE A NEW INITIATIVE TO REVOLUTIONISE THE WAY THE LEGENDARY PLAYWRIGHT IS TAUGHT

 William Shakespeare

Teachers in Singapore are being supported to change their approach to teaching Shakespeare by adopting techniques used by actors and directors as part of a pioneering new project from the UK’s Royal Shakespeare Company (RSC) and the University of Warwick that aims to transform classroom experiences of Shakespeare. According to research undertaken by the RSC and the British Council up to 64 million children across the world learn about Shakespeare’s plays, but for some it is not the life enriching experience it could be.

The RSC, based in Shakespeare’s birthplace in Stratford-upon-Avon, Warwickshire, UK, has teamed up with Warwick Business School, which is part of the University of Warwick, UK, to change that. Together, they have produced a one-stop shop online professional development programme, called Teaching Shakespeare, that holds a treasure trove of materials including over 100 films featuring modelled lessons and interviews, with leading RSC directors and practitioners along with academics from the University of Warwick. This ground-breaking programme provides teachers with the essential skills and knowledge to develop active, drama-based approaches to teaching Shakespeare in their classrooms.

Encouraging students to get up on their feet and actively explore Shakespeare’s plays has already brought the text to life for thousands of youngsters in Britain through the work of the RSC’s Education department. This new online learning platform, created by the RSC and Warwick Business School will be able to reach millions more globally.

Now Warwick Business School Professor Jonothan Neelands is travelling to Singapore to show at first-hand how these teaching methods can not only improve children’s understanding of Shakespeare, but boost their self-confidence and communication skills as well. Professor Neelands will be holding a workshop from Saturday March 16 to March 20 at the Singapore Repertory Theatre.

Our humble ambition is to transform how Shakespeare is taught across the world,” said Professor Neelands, who is a National Teaching Fellow and Chair of Creative Education at Warwick Business School. “We find that the best way to encourage young people to develop a joy in reading Shakespeare is through getting them up on their feet, moving around, speaking the words and making the choices that actors do. The RSC’s research has shown that this approach is more likely to lead to a lifelong love of Shakespeare rather than sitting around in class and reading dusty books.”

Jacqui O’Hanlon, RSC director of education, said: “We know there is a global community of teachers that are passionate about teaching Shakespeare and who want to explore new ways of teaching in order to unlock language, inspire learning and release imagination in students of all ages. “We hope to reach thousands of teachers through our new online programme and in doing so transform classroom experiences of Shakespeare for all kinds of learners. We hope that Teaching Shakespeare enables both teachers and their students to enjoy and achieve more together in their Shakespeare work.”

English eight year-old Ben now ranks Shakespeare alongside the most exciting things in the world after taking part in one of the RSC’s classes. The Stokeinteignhead Primary School pupil said: “My dad said Shakespeare was boring, but he’s got it wrong! I’m gonna tell him about Hamlet. It’s got murders and ghosts and castles and stuff and that’s not boring.”

At Honley High School in Holmfirth in West Yorkshire, UK, teachers said: “Over 93 per cent of students were ambivalent or vehement in their belief that Shakespeare was not fun. After using theatre-based teaching over 79 per cent of students saw the study of Shakespeare as fun.”

And Lillian, a London primary school teacher in the UK, said: “After using practical approaches to Shakespeare we found the writing levels of pupils in a highly disadvantaged class had improved considerably: 86 per cent were now on target to achieve level four in their SATs. Before the Shakespeare teaching unit, only 53 per cent were on target.”

Australian teacher Kate Walsh, of Toowoomba in Queensland, said: “I teach at Harristown State High School. Studying with both the University of Warwick and the Royal Shakespeare Company has been a fantastic experience. Working within a global online classroom with great resources and supportive staff has developed my pedagogy, helping bring Shakespeare to life in a number of ways.”

Professor Neelands has given Teaching Shakespeare workshops at The Singapore Repertory Theatre from March 16 to 20.

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To visit the Teaching Shakespeare website go to http://www.teachingshakespeare.ac.uk/

BOOKS / NEW MYSTERY DRAMA NOVEL BY LILLIAN LEWIS CELEBRATES IRELAND, FAMILY ROOTS

 LILLIAN LEWIS - “All Shall Be Well  / An Irish Inheritance.”

New mystery drama novel celebrates Ireland, family roots. Lillian Lewis turns quality family time into an Irish murder mystery in her new book, “All Shall Be Well: An Irish Inheritance.” The book may be fiction, but Lewis incorporates her own Irish backstory into the plot. Lillian Lewis grew up in post-Depression Chicago where her lovable but eccentric grandmother taught her the traditions and stories of her Irish ancestors.

In the book, Morgan Kenny sets out to bury her bizarre Aunt Mary, believing that she is laying to rest her last link to the Irish. Instead, her experiences with the old world are just getting started as she’s thrust headfirst into an Irish murder mystery. Soon, Morgan’s legacy, along with a priceless Renaissance painting, is in jeopardy as the web of deceit threatens to spin out of control.

LILLIAN LEWIS BOOK - AN EXCERPT

In this compelling tale, rich with history and culture, an American woman embarks on an Irish adventure in which she will learn more about her ancestors and herself than she ever could have imagined.

When my aunt died, she left my family’s home to a stranger, who totally dismantled it,” Lewis says. “The feeling of having my inheritance, my heritage completely dismantled was tragic. I wrote the book to tell a story about the importance of understanding and embracing your loved ones and your roots.”

About the author

LILLIAN LEWIS

Lillian Lewis has spent a lifetime visiting Ireland, living in Italy and travelling the world. She received her masters in theology from Marquette University and received a Ph. D. in clinical psychology from Pacifica Graduate Institute in Santa Barbara, California. She has spent over 25 years as a Catholic theologian. When she isn’t writing, she enjoys gardening, baking and writing poetry.

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For more information, visit

http://www.allshallbewellbylillianlewis.com/index.html

All Shall Be Well: An Irish Inheritance”

By Lillian Lewis

ISBN: 9781475920253

Available in softcover, hardcover and e-book

Available at Amazon, Barnes and Noble, iUniverse

“BLOODY ASPHALT”: MY WORK SUPPORTING “30.000 LIVES TO SAVE” EUROPEAN CAMPAIGN AGAINST ROAD ACCIDENTS

Bloody Asphalt – by Roberto Alborghetti, Collage 70×50, Framed, 2012 (created with hundred of paper pieces from torn and decomposed publicity posters) – Supporting “30.000 Lives to Save” European Campaign.

WATCH THE VIDEOCLIP:

http://youtu.be/jPe1Lwdj8uo

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Bloody Asphalt / 30.000 Lives to Save”

Collage by Roberto Alborghetti

Supporting The European Road Safety Charter campaign

50×70, 2012

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This work – “Bloody Asphalt” – is dedicated to road victims and it supports the “30.000 lives to save” campaign. It’s not a canvas reproducing details from torn posters images, but it’s a collage I’ve created with hundreds of paper pieces from decomposed and ripped publicity posters I’ve collected along the streets… Black and red are the pre-eminent colors suggesting a road scene after  an accident. Abstract and reality to raise attention for an important  cause…          

The European Road Safety Charter has launched the “30. 000 lives to save”  campaign that has a key message: “No more victims on the roads”. The campaign, that uses an integrated application on Facebook (causes.com) as a platform, invites citizens to follow its cause by clicking on a single button. The objective is to reach 30. 000 individual participations who believe that road safety should be a priority for all. In 2011, an estimate of 30. 000 people lost their lives on European Roads. That is why, the European Road Safety Charter wants to take a step further and encourage a more active participation of citizens in road safety related topics.

The Charter wants to prove that there are more than 30 000 people who believe that there should be “NO MORE VICTIMS ON THE ROADS!”

 

PABLO PICASSO, BACK TO MILAN : 250 MASTERPIECES FROM THE “NATIONAL PICASSO MUSEUM” IN PARIS INCLUDING PAINTINGS, DRAWINGS, SCULPTURE AND PHOTOGRAPHS

 

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PHOTOS / COURTESY OF:

24 ORE CULTURA – Gruppo 24 ORE PRESS OFFICE

MUNICIPALITY OF MILAN PRESS OFFICE

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The Department of Culture, Fashion and Design of the Municipality of Milan, Palazzo Reale and 24 ORE Cultura – Gruppo 24 ORE with the Musée National Picasso are pleased to present the great return of Picasso to Milan with a retrospective exhibition realized thanks to the support of Gruppo Unipol. The exhibition will open 20 September 2012 at the Palazzo Reale: “Pablo Picasso. Masterpieces from the National Picasso Museum in Paris”.

Milan is hosting Pablo Picasso’s brilliant and fundamental work for the third time, following the major exhibitions in 1953 and 2001. These two shows coincided with crucial periods both in international politics and everyday life in Milan. And they left their mark – Head of Culture Stefano Boeri emphasizes –  but we do not yet know whether this appointment with Picasso will be another appointment with history for Milan. We do know that organizing this meeting between a major city and the brilliant precursor of contemporary art provided opportunities to reflect on history – as confirmed by the rooms in Palazzo Reale devoted to the preparation of the 1953 exhibition. This show is a tribute to Picasso, to Milan and to the coincidences – never completely accidental – that have characterized the life of a leading interpreter of modern times.”

The exhibition was curated by Anne Baldassari, internationally recognized as one of the most important Picasso scholars and the curator of the Musée National Picasso in Paris, which houses the world’s largest collection of works by the Spanish artist.

With more than two-hundred-fifty works – many of which have not left the Paris museum prior to this global exhibition, for which Milan is the only European venue – including paintings, sculpture, photographs, drawings, illustrated books and prints, the exhibition is a veritable chronological excursus through Picasso’s artistic production, allowing comparison of the techniques and expressive means with which the artist challenged himself over his long career.

Through the unique and exceptional collection of the National Picasso Museum in Paris, the Milan retrospective presents, among the many masterpieces, works that allow the visitor to travel over the history of art through the evolution of the artistic language of this undisputed twentieth-century master, enjoying masterpieces like “The Celestina” (1904), “Man with a mandolin” (1911), “Portrait of Olga” (1918), “Two women running on the beach” (1922), “Paul as Harlequin” (1924), “Portrait of Dora Maar” and “The Supplicant” (1937).

 

As the curator explains in the catalogue, “The collection of the Musée Picasso thus represents Picasso’s work in progress, his surprises, his leaps forward and his regrets, his meanderings and his retreats. Through it one can observe paintings that become sculpture and vice versa in the invention of intermediate dimensions: painting without a background or contours, flat panels like icons, carved wooden pieces illuminated with colour, the optical tricks of collés, tableaux-reliefs and flat constructions, hollow, open, perforated sculptures, filiform spatial graphic works, paintings in the round, models made out of folded paper, plate sheets that have been cut and opened out into space. Even the drawings, the pages of sketchbooks and the engravings converse in a continuous to and fro, to reconstruct the iconographic logic of a narrative that explores all of the possibilities, almost reaching the myth of the birth of images: here one gathers the minute reasons for sequences that go from the identical to the multiple through the intermediate stages that describe, to thousands, this mythographic gesture”.

Picasso is the unquestioned leader of twentieth-century art and embodied its turbulent, innovative spirit.  Born in the Spanish city of Malaga in 1881, after studying art in Barcelona, where he was enrolled in the School of Fine Arts at the young age of thirteen, and in Madrid, he made his first trip to Paris in 1900, the city where art and culture would influence him so enormously as to leave their mark in all of his work. At the time of his death, in Mougins in the south of France in 1973, he had produced more than 50,000 works using diverse languages and artistic means, in a stream of epochal turns and stylistic changes, astonishing testimonies to the private life, civil and political engagement and recherche of an inexhaustible artist.

Within the exhibition – designed by Italo Lupi with Ico Migliore and Mara Servetto and covering more than 2000 square metres on the upper floor of the Palazzo Reale – there will also be documentation of the exhibition that Picasso held in 1953, also at the Palazzo Reale, where the great canvas “Guernica” (1937) was shown in Italy for the first time, in the Sala delle Cariatidi.

The catalogue accompanying the exhibition, with texts by Anne Baldassari, Isabelle Limousin, Virginie Perdrisot, Francesco Poli, Pablo Rossi e Annabelle Ténèze, is published by 24 ORE Cultura – Gruppo 24 ORE. The catalogue accompanying the exhibition was published by 24 ORE Cultura – Gruppo 24 ORE.

www.mostrapicasso.it

twitter @milanexhibition