THE MAGICAL WOOD SCULPTURES CREATED BY PIERO MARCHESINI… SCENES AND CHARACTERS FROM MITHOLOGY, NATURE AND FAIRY TALES

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Photos: Roberto Alborghetti    

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In recent weeks I had the pleasure of visiting an exhibition at the medieval Baptistery in Lenno on Lake Como. Piero Marchesini – a distinguished gentleman and artist – exhibited his beautiful art pieces. Marchesini carves wood, carrying out really lovely works. He lives in Lipomo, Como City, and sculpture is his passion. He has already showed his creations around the world raising lot of attention. Marchesini loves to work on subjects recalling mythology, nature, characters from fairy tales and legends and biblical scenes.

He carves wood – walnut, lime, ash, hornbeam, boxwood, maple, olive, cherry-wood and so on – with great mastery and skill and he is able to create works of singular fascination and charm. More than words, count the pictures, just from the exhibition of Lenno. His next show is planned in Menaggio, on Lake Como, from 30 July to 5 August, 2013 at the Art Gallery (Garibaldi square) overlooking the lake. It’s another opportunity to see its stunning creations.

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

VILLA CARLOTTA, WHERE ART AND NATURE MASTERPIECES LIVE TOGETHER IN A PLACE OF RARE BEAUTY

© Photos by SR.M. LUISA ALBORGHETTI

Villa Carlotta in Tremezzo (Lake Como, Italy) is really a place of rare beauty, where masterpieces of nature and art live together in perfect harmony in over 70.000 square meters of gardens and museum.

The beautiful Villa was built at the end of 17th Century in a natural basin between lake and mountains, facing the dolomitic Grignas and the peninsula of Bellagio.

The architect created for the Clericis – a noble and powerful Milanese family – an important but sober building, with an Italian garden decorated with sculptures, stairs and fountains.

In 1801 Gian Battista Sommariva, famous politician, business man and patron of arts, bought the villa. Thanks to him, the villa attained the summit of its splendor and became one of the most important halting-place of the Grand Tour with its collections of art – as the masterpieces of Canova (Amore e Psiche), Thorvaldsen and Hayez – and its fascinating romantic garden.

In the Museum, at ground floor, we may visit the Marble Room, the Plasters Room, the Cameos Room, the Palamede Room, The Wicar Room, the Magdalene Room, the enchanting Eros and Psyche Room, the Romeo and Juliet Room, the Views Room, the Napoleonic Room. At the second floor, we admire the Gallery, Princess Carlotta bedroom, the Red Parlour, the Tapestry Room, the Empire Style Parlour, the Empire Style dining-room, Georg II Room and the bedroom.

In the second half of the Century Princess Marianne of Nassau bought the villa and gave it as a present to her daughter Carlotta in occasion of her wedding with Georg II of Saxe-Meningen. Georg was passionate about botany and made a lot of improvements and new additions to the park that became more and more famous for its botanical richness and the rhododendrons and azaleas spring flowering. They are more than 150 varieties giving an extraordinary flowering which is known all over the world.  In the park we may admire the beautiful Terrace and the Italian Gardens, The Camelias, the Theatre of Greenery, the Rock Garden, the Ferms Valley, the Azaleas, the Rhododendrons Wood, the Bamboos Garden, the Old Garden, the Museum of agricultural tools and a Tower (XIX Century). 

VILLA CARLOTTA FROM THE LAKE

FUERTEVENTURA, ART ON THE ROADS: ROUNDABOUTS AS GALLERIES

© Photos by ROBERTO ALBORGHETTI

ROUNDABOUTS AS GALLERIES – FUERTEVENTURA 2012 – Phots by ROBERTO ALBORGHETTI – CAMINOS

In Fuerteventura local government and municipalities had a good idea. They have displayed beautiful and interesting sculptures at the most important roundabouts. So, while you’re driving along the main roads you have the pleasure to admire art installations which invite you to stop… It’s a sort of permanent gallery showing nice contemporary art made by local or international sculptors.

I saw fascinating pieces. But I was really struck by  “Caminos” made in 2007 by cuban artist Lisbet Fernandez Ramos and located at a roundabout at the entrance of Morro Jable town (Pajara municipality).

The artist created two different groups of kids who are scanning the sky (or the future…) It’s a really impressive scene that invites to slow down and think… And this is another surprise coming from Fuerteventura, wild and fascinating island.

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WISHES AND PAINTINGS FROM GERMANY AND ITALY

 The capturing Season’s Greetings I’ve received from international fellow artists Dagmar Dost-Nolden and Carlo Iacomucci

 

During this holiday season I’ve received nice and fascinating greeting cards from fellow artists (I’ve created one me too: an “haiga”; I already wrote a post about it). Two pictures attracted my attention: the paintings reproductions created by Dagmar Dost-Nolden (an international artist-painter, sculptor and performer: she lives in Germany) and by Carlo Iacomucci (he lives in Macerata, Italy, and his artworks are shown in private and public collections). So, give a glance to these two images that fuse colors, feelings and emotions. When we say: the art beauty and the life breath.

About Dagmar Dost-Nolden

www.dost-nolden.de

About Carlo Iacomucci

www.carloiacomucci.it

Tra le immagini augurali che ho ricevuto ho particolarmente apprezzato quelle che mi sono state inviate dagli amici artisti Dagmar Dost-Nolden (vive in Germania, si occupa di pittura, scultura, performances artistiche) e Carlo Iacomucci (risiede a Macerata, le sue opere sono custodite in collezioni pubbliche e private). Vi invito dunque ad ammirare queste due immagini che fondono colori, sentimenti ed emozioni. Quando si dice il bello dell’arte e il respiro della vita.

 

Dagmar Dost-Nolden

www.dost-nolden.de

Carlo Iacomucci

www.carloiacomucci.it

GIO’ POMODORO: THE PATH OF A GREAT SCULPTOR

 Monferrato area (Italy): events and shows to celebrate the great master of international sculpture

 

” Gio Pomodoro, The path of a sculptor: 1954-2001″ is the theme of one of the most important exhibitions devoted to the celebrated Italian sculptor. The show opened on December 7, in Alessandria (Piemonte, Italy) and it will continue in the enchanting Monferrato area. Villas, Palaces and Museums will become a sort of network by which people may approach the works of the great master of international sculpture. The events started in Alessandria and they’ll also reach Acqui Terme, Novi Ligure, Valenza, Tortona and Casale Monferrato.

During the great show, which involves nine venues, will be exhibited 173 works, offering a trip back in cognitive poetics and aesthetics of the monumental and magnificent works of Gio’ Pomodoro, whose intellectual roots, mathematics and philosophy, have been recognized and appreciated throughout the world. The event is sponsored by Fondazione Cassa di Risparmio in Alessandria and by public institution of the Monferrato area. The exhibition is curated by Marco Meneguzzo and Giuliana Godio. In Alessandria, at Palazzo del Monferrato – a rare example of a blend of Baroque and Expressionism – are exhibited, as well as the monumental work “Grande Ghibellina”, 12 bronze, stone and marble sculptures, and a major series of watercolors. Palazzo Guasco Carlo Carra Gallery is hosting 5 bronze and stone sculptures and a series of designs on paper.

At Palazzo Cuttica, now the Civic Museum, are presented small and medium-size sculptures as well as the monumental work “Sole deposto”, that is installed at the entrance of the building. In the courtyard of the Paris Chamber of Commerce is featured another monumental bronze sculpture: “Colloqui con il figlio”. The event is a sort of a great museum spread on Alessandria land. The exhibition is showing Gio’ Pomodoro ‘s genius in sculpture, paintings, watercolors, and jewels. Marco Meneguzzo, events curator, says that Gio’ Pomodoro has been always moved between the absolutes that define the “human” category : the space and history. The events will end in April 30, 2011.

 

THAT MAGICAL CRYPT IN THE TUSCANY MEDIEVAL VILLAGE WHERE THE ITALIAN LANGUAGE WAS BORN

Abbadia San Salvatore, on Amiata Mount (Siena area, Tuscany, Italy) is a place rich of art and history… 

 

In Abbadia San Salvatore, on Amiata MountSiena area, Tuscany, Italy – there is a magical and capturing place. You find it on the ancient abbey church. It is a crypt, where you may breath the history and the beauty of one of the most fascinating Tuscany village.

According the documents, the crypt was built in VIII Century. It was restored in XX Century and now we may admire it in all its beauty. Everytime I have the way to visit it, I always feel astonished by its magic. It happened again a few days ago, when I was in Abbadia SS. for the XIII edition of “Penne and Video Sconosciuti”, the national festival for school journals and videos produced by italian schools.

The Longobard crypt shows 32 columns that form 13 small aisles. They are made in various shapes; some of them are round, with different sculpured ornaments. Also the beautiful capitals are sculptured in various shapes, as palm leaves, loto flowers or animal heads.

 

The abbey and all the Medieval centreare telling us how Abbadia San Salvatore was important in the past. All its area is rich in history and traditions, that to a great extent can be found in documents in the old archive belonging to the monastery dedicated to the Saviour at Amiata Mount. The archive contains many references to the importance and power of the abbey, but little or no reference is made to the early Medieval history of the surrounding land and area, or about the people who used to live there.

The castle of Abbadia is first mentioned in a document dating to 1203, which shows that the community was came under the aegis of a communal hierarchy headed by a Podestà, under the political control of Orvieto. A few years later, the strenght and power of this communal organization are described in the “bill of freedom” (“carta delle libertà”) granted in 1212 to communal chancellors by the Abbot of the San Salvatore monastery.

The pattern of settlements in the area of Abbadia was defined around the mid-XII Century, when under the pressure of external threats, the local population, up until then scattered over the surrounding countryside, came together within one large fortified settlement.

 

This Benedectine monastery was founded by Erfo, a Longobard nobleman, in the VIII Century, under King Astolfo, and it was dedicated to the Saviour, which was typical of that people and in the tradition of christian religion. It rose on the east side of Amiata Mount in order to reclaim the surrounding woods and forests. It also overlooked the Via Francigena, running through the Paglia Valley.

The imperial abbey greatly developed in the Carolingian period thanks to Charlemagne‘s and Ludovick‘s confirmation of its landed propertues and privileges, Around the year 1000, under Abbot Winizo, it increased its power by acquiring new territories. The church and the crypt were rebuilt in 1036. In 1228 the monastery passed to the Cistercians. It was suppressed by grand-duke Pietro Leopoldo in 1782 and re-opened later.

 

In the year 1087, a certain Miciarello and his wife Gualdrada made a donation in favour of the monastery of St Saviour. Below the donation document, the notary Ranieri signed three verses, commonly known as “Cartula Amiatina” (“The Amiata Footnote”). This extemporary poem represents to linguists the first voice of vernacular coming from Tuscany. That is, the first expressions recording the evolution of the Italian language.

But this is not the only important document about Amiata History. Till XIX Century, the monastery hosted the famous “Bibbia Amiatina”“The Amiata Bible” – which is considered the oldest latin version ever known. The Amiata Bible – a real art masterpiece, written by amanuensis monks – is now kept in Florence, but we may see a photo-reproduction in the Monastery Museum.

The historical centre is a well kept fortress-village, where you may walk through incredible narrow streets and squares, all built with the local grey stone. You may admire the Servadio Theatre (1873), a tiny but fascinating place. It was built thanks to the initiative of the Carli and Gragnoli families; it is dedicated to Giacomo Servadio (XIX Century) a Florentine member of Italian Parliament, banker, musician and theatre producer. Between the end of XIX Century and the beginning of the XX, the building was the seat of a friendly Society of the workers of Abbadia, where in XIX Century quicksilver mines began their activities, now closed and presented in a museum.

By ROBERTO ALBORGHETTI