“GUBBIO AT THE TIME OF GIOTTO”: A GREAT EXHIBITION OF ART TREASURES AND MASTERPIECES

The city of Gubbio preserves intact its splendid medieval appearance, with churches and stone palaces that stand out against the green of the Apennines. It is still the city of the time of Dante and of Oderisi da Gubbio, the miniaturist whom the great poet meets among the proud in Purgatory and to whom he dedicates important verses, which sanction the beginning of a modern age that manifests itself precisely with poetry of Dante and the art of Giotto.
The exhibition “Gubbio at the time of Giotto, art treasures in the land of Oderisi” – open until November 7, 2018 – wants to give back the image of a medium-sized city of political and cultural importance in the Italian panorama between the end of the thirteenth century and the first decades of the Three hundred, exposing the figurative heritage both civil and religious. For the occasion he restored paintings hidden by the dust of the centuries, returning to Gubbio works scattered throughout history, bringing together paintings of the same painters eugubini destined to other cities of Umbria, calling important loans from abroad.

Panel paintings, sculptures, goldsmiths and illuminated manuscripts outline, also with new attributions, the physiognomies of great artists like Guido di Oderisi, aka Maestro delle Croci Francescane, The Master of the Cross of Gubbio, the Expressionist Master of Santa Chiara or Palmerino di Guido , “Guiduccio Palmerucci”, Mello da Gubbio and the Maestro of Figline.
The father of Oderisi, Guido di Pietro from Gubbio, is today identified as one of the protagonists of the so-called “Greek Manner”, from Giunta Pisano to Cimabue. Palmerino was Giotto’s companion in Assisi in 1309, and with him he painted the walls of two chapels of San Francesco, then return to Gubbio and fresco the church of the Friars Minor and other buildings of the city.

“Guiduccio Palmerucci”, today a convention name, is still attributed to rapacious polyptychs. Mello da Gubbio wrote his name at the feet of a Madonna with a full and joyful face like the Madonnas of Ambrogio Lorenzetti in the city of Siena. The Master of Figline, who painted the stained glass windows for Saint Francis in Assisi, then the great Crucifix in the church of Santa Croce in Florence, is likely to have left an extraordinary polyptych in the church of San Francesco in Gubbio, which we can admire again this exhibition thanks to today’s owners who have granted the loan for the first time.

From the archival documents and the appearance of the Madonnas and Crucifixes hanging on the walls of the museums, it appears that the painters who joined Giunta Pisano originated in Gubbio, then worked alongside Giotto and finally Pietro Lorenzetti, to decorate the colorful images the masterpiece that opened the doors of modern art in the church erected above the tomb of the saint of Assisi.
Back home, those painters, who had been involved in the new language of Giotto and Pietro Lorenzetti for an audience of popes and cardinals, challenged with a refined style and popular in the illustrative aspect, to be understood by an audience of blacksmiths and stone masters. The language of lauda was then spoken at Gubbio together with the language of the Commedia.

The exhibition “Gubbio at the time of Giotto. Art treasures in the land of Oderisi “is set up in three different locations, because there are irremovable works, but also because there are places full of meaning and imbued with beauty: the Palazzo dei Consoli which rises above a fabulous terrace that makes it look like to those cities that the saints carry in the sky in the altar polyptychs, the Diocesan Museum that stands next to the cathedral church and finally the Palazzo Ducale, which was born as the seat of the City and ended up being the residence of Federico da Montefeltro, lord of Urbino.
Along this path you can trace the footprints of the men and women of that ancient time, to see from the same perspective and understand with the same taste a civic and religious art together.

Curated by Giordana Benazzi, Elvio Lunghi and Enrica Neri Lusanna, the exhibition is promoted by the Municipality of Gubbio, the Polo Museale dell’Umbria, the Superintendence of Archeology, Fine Arts and Landscape of Umbria, the Eugubian Church and the Umbria Region.

The organization is entrusted to Civita Exhibitions in collaboration with Gubbio Cultura and Multiservizi and La Medusa Cultural Association. The initiative’s partner is the Festival of the Middle Ages, with the support of the Cassa di Risparmio Foundation of Perugia and with the important contribution of the BCC Umbria.

An audio guide for the exhibition is available for hire at the Ducal Palace. The catalog is published by Fabrizio Fabbri Editore-Perugia. The exhibition is accessible with a single ticket that allows you to visit the three exhibition sections but also the three museum sites as a whole, the Palazzo dei Consoli, the Diocesan Museum and the Palazzo Ducale, thus creating an extraordinary city circuit that collects the works in the territory and those that have long been dispersed, reconstructing the historical events and the artistic heritage of Gubbio in the municipal age.

Advertisements

UFFIZI GALLERY (FLORENCE): A NEW GREAT ROOM DEVOTED TO THE GENIUS OF LEONARDO DA VINCI

 

Sala 35 - Nuova sala di Leonardo 1

After the unveiling of a new arrangement of masterpieces by Caravaggio and other XVII Century artists and the new room dedicated to Michelangelo and Raffaello, Uffizi Gallery continues its renewal with a room devoted to Leonardo da Vinci.

 

The new Leonardo Room at Florence’s Uffizi Gallery (Room 35 in the West Wing), officially opened yesterday, displays three paintings by Leonardo, all of which were made originally for churches, hence why the room’s walls are painted pale gray using a spatula effect. To ensure optimal conditions, the paintings are contained in special glass display cases that reduce light refraction without detracting from the visitor experience.

 

On the left stands The Baptism of Christ, painted for the San Salvi Church in 1475-78, when Leonardo was still working with Andrea del Verrocchio. The painting highlights the divisions in tasks within the workshop in terms of style and technique between the master and his pupil.

 

The Annunciation can be seen on the facing wall. Hailing from the church of Monteoliveto, the angel casts its shadow over the flowering meadow, closing its wings upon landing like a bird.

 

In the centre of the room visitors can wonder at the Adoration of the Magi, commissioned for the church of San Donato a Scopeto, and which was left unfinished when Leonardo went to Milan in 1482 to work for Ludovico Sforza. The painting underwent a five-year restoration at Florence’s Opificio delle Pietre Dure, financed by the Friends of the Uffizi. The altarpiece offers insight into Da Vinci’s creative process with some parts more advanced, while other brush strokes point to an infancy in style and technique.

 

Eike Schmdt, director of the Uffizi Galleries,  explained the draw of the Leonardo Room. “The new arrangement has been designed not only to permit a slow, meditated visit, whereby visitors can compare the art and understand the stylistic evolution of Leonardo in his youth, but it is also correct in terms of art history, placing the artist’s works immediately after the rooms dedicated to the Florentine Quattrocento…It is part of a set of changes implemented to adjust the Uffizi to the needs of understanding by visitors as well as adhering to the museum’s educational principles.”

THOSE WONDERFUL MACHINES BY LEONARDO DA VINCI: GREAT SHOW IN MONTEPULCIANO (TUSCANY)

Held in the beautiful Montepulciano (Tuscany) at the Fortezza, the exhibition Anatomies: Machines, Man, Nature places emphasis on the Renaissance genius’ concept that machines, the human body and nature are all governed by the same universal laws. Expect masterful drawings that mark the birth of modern scientific illustration and models of Da Vinci’s futuristic machines.

The exhibition features some of Leonardo’s ambitious projects, which illustrate very well his inclination to put himself to the test by taking on highly complex subjects. Man’s dream since ancient times, flight takes shape in his studies and in the machines he devised. Leonardo also tackled the idea of providing motion to inanimate objects: the self-propelled cart and the mechanical lion bear powerful witness to the results with a highly innovative potential that he was able to achieve. Lastly, the project for the giant bronze equestrian monument in memory of Francesco Sforza represents additional proof of the exceptional intelligence and determination with which Leonardo dealt with the most daring technological and artistic challenges.

One of the most innovative aspects of Leonardo’s contribution is his analysis of the “organs” of machines, that he considered not as an indivisible whole, but as an assemblage of distinct parts. He applied the same method to the study of the human body, whose organs he regarded as highly sophisticated mechanical devices. For Leonardo, even the Earth is a vast organism whose motions are governed by the universal mechanical laws of Nature. The exhibition features working models of the machines conceived by Da Vinci and a gallery of mechanical, anatomical and geological studies from his notebooks.

Exhibition Dates

21.04.2018 – 07.10.2018 Montepulciano (SI), Fortezza

Tickets cost 5 euro; open daily 10.30am-7.30pm. For more information, visit http://www.leonardoanatomie.it.

EXCLUSIVE: THE 8 NEW ROOMS AT UFFIZI GALLERY DEDICATED TO CARAVAGGIO’S MASTERPIECES (“MEDUSA” INCLUDED)

‘Medusa’ artwork by Italian painter Michelangelo Merisi da Caravaggio is exhibited as part of a new set-up of rooms dedicated to Caravaggio and the 17th century painting at Galleria degli Uffizi (Uffizi Gallery) in Florence (opening today, February 19, 2018). ‘Medusa’, the famous painting on the shield, is one of the “stars” in a group of eight new rooms dedicated to masterpieces of Caravaggio and other 17th century painters, Italian and beyond, such as Artemisia Gentileschi, Gherardo delle Notti, Velazquez, Rembrandt, Van Dyck and Rubens.

The new eight-room section has Caravaggio’s Medusa as its centrepiece, displayed against a bright crimson backdrop intended to mimic the fabric shown in paintings of the period. The iconic work is paired with a depiction of the same subject by German artist Otto Marseus, previously misattributed to Leonardo da Vinci.

Shifts to these “Caravaggio rooms” are not the only changes currently underway at the museum. In the coming days, oak benches will also be added, aiming to better accommodate visitors who spend up to four hours walking around the galleries. To avoid infringing on space, benches will be placed in the Vasari-designed wall recesses near the windows of rooms and corridors.

Director of the Uffizi Galleries Eike Schmidt emphasised that the new layout aims to create an “intellectual experience for both non-specialists and experts on the subject”, and to highlight the “international spirit of the period”. Rooms each have distinctly evocative names (“Between Reality and Magic”, “By Candlelight”) and feature artwork from the likes of Artemisia Gentileschi, Diego Velazquez and Gherardo Delle Notti. The final room ‘”The Florentine Epic” is dedicated to literary themes drawn from epic poems such as Jerusalem Delivered and Orlando Furioso.

GREAT EXHIBITION IN CESENATICO (ITALY): CHARLES DARWIN’S LIFE COMMENTED THROUGH THE PAINTINGS BY DARIO FO (NOBEL PRIZE)

 

© Roberto Alborghetti Photos

Dario  Fo (Nobel Prize in Literature, 1997) presented for the very first time Charles Darwin’s life in a story commented by paintings, also of great dimensions, turning the often unknown  history of the scientist father of the theory of the evolution into a gigantic comic strip . The exhibition has been staged at the Palazzo del Turismo “Primo Grassi” in Cesenatico, from August 5th to  September 30th 2016. The Charles Darwin’s history narrated by Dario Fo became a book edited by the publishing house Chiarelettere.

In photogallery: some pictures I took during the exhibition in Cesenatico (Emilia Romagna, Italy).

Info: Tourist Board Cesenatico +39 (0) 547 673287 , V.le Roma, 112 – 47042 Cesenatico (FC) – phone +39 (0)547 673287 – 800 556 900 – info@cesenaticoturismo.com  –  www.cesenaticoturismo.com

LAST TEN DAYS TO VISIT “TEMPO.MEMORIA” EXHIBITION AT MIIT MUSEUM IN TURIN (ITALY)

 

Until next August 20, there is the opportunity to visit in Turin, at MIIT Museum (Corso Cairoli 4), the “TEMPO. MEMORIA: Daring to Dream Again” exhibition. The project is curated by Sergio Gomez (curator and owner of Art NXT Level Project/33 Contemporary Gallery) with the Cultural relations partnership by Renèe LaVerne Rose (ACS Publisher and Editor in chief). The exhibition explores the themes of TIME and MEMORY from a variety of world perspectives. From cultural, political, psychological, religious, or personal view points, curator Gomez invited a selective group of international artists to visually articulate and interpret to their discretion ideas of time passing, memory, dreams and our personal perceptions on such concepts.

The exhibition features twenty-five extraordinary visual artists representing the United States (Chicago, Illinois, New York City, Miami, Florida), Mexico, Korea, Philippines, Peru, Germany and Iran. This international exhibition invites the viewer to an exploratory journey experiencing global interpretations of TIME and MEMORY while reflecting on their own personal emotions and memories.

The MIIT is a new museum exhibition space created by Guido Folco and located in the heart of the city of Turin, Italy, in an ancient palace of the 1700’s and in a fervent neighborhood of galleries, museums and foundations. It is strategically located a few steps from the Egyptian Museum, the National Museum of Cinema at the Mole Antonelliana, Palazzo Madama, the MAAO Museum of Oriental Art, the Royal Palace, the GAM and to all major cultural and tourist attractions of the capital. The word “MIIT” in some foreign languages, evokes the idea of “meetings” cultural and artistic, recovering from the English word “meet” and the German “mit” the sense of sharing and exchange of experiences and knowledge. Partners and collaborators of the MIIT include museums, foundations, academies, auction houses, universities, galleries and public and private collections, archives of historical art, the Italian Cultural Institutes around the world, and the Italian company Made in Italy which the MIIT and its monthly magazine “Italia Arte” have established working relationships and cultural connections over the years.

MIIT-16a

21 TWEETS TO TELL MY “COLORS OF AN APOCALYPSE” EXHIBIT @ THE ROMANESQUE TEMPLE ON LAKE COMO

FROM TWEET # 21 TO # 1… 

#colorsofanapocalypseshow : Twitter top trend.

#colorsofanapocalypseshow : Twitter top trend.

  1. Roberto Alborghetti‏@RobAlborg  7h7 hours ago

Last scene @ my #colorsofanapocalypseshow, Silk stairway to heaven… I Thank You All!

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (10) (480x640)

  1. Roberto Alborghetti‏@RobAlborg  8h8 hours ago

Scene 20 @ my #colorsofanapocalipseshow, Last visitors: Mrs. and Mr. Crowl from London-UK…

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (11) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  8h8 hours ago

Scene 19 @ my #colorsofanapocalypseshow , Blessed touch…

View photo

  1. Roberto Alborghetti‏@RobAlborg  19h19 hours ago

Scene 18 @ my #colorsofanapocalypseshow, Great days, I’m now thinking about The Next Things…

View photo

OLYMPUS DIGITAL CAMERA

5.Roberto Alborghetti‏@RobAlborg  21h21 hours ago

Scene 17 @ my #colorsofanapocalypseshow. Visitors Book:”Bello e inaspettato /Beautiful and unexpected”.

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (4) (640x364)

  1. Roberto Alborghetti‏@RobAlborg  22h22 hours ago

Scene n. 16 @ my #colorsofanapocalypseshow, Textile designer Bruno Boggia and daughter Lucia visiting the exhibit.

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 5

Scene n.15 @my #colorsofanapocalypseshow, Visitors Book:comment by Victoria, 3 years old! Wow!

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 5

Scene n.14 @ my #colorsofanapocalypseshow, Also the American guy doesn’t feel like touching…

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (1) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 5

Scene n.13 @ my #colorsofanapocalypseshow , she doesn’t feel like touching#2…

View photo

Roberto Alborghetti ‏@RobAlborg  Jul 4

Scene n.12 @ my #colorsofanapocalypseshow. Red&Hot day today… But Panama helps…

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.11/2nd part @ my #colorsofanapocalypseshow , observing the picture, tripping through my mind…

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (6) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.10 @ my #colorsofanapocalypseshow, Visitors Book: “Dear Roberto, I want to say you that…”

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.9 @ my #colorsofanapocalypseshow. Visitors from San Francisco, California, USA.

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.8,@ my #colorsofanapocalypseshow.Wonderful natural light in the XI Century bapstistery on @lakecomolake

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (8)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n. 7 @ my #colorofanapocalypseshow, They don’t feel like touching…

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.6, my #colorsofanapocalypseshow.From Visitors Book: “Ask the artist… You’ll be amazed”.

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (5)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.5 from my #colorsofanapocalypseshow,special silk scarves4special silk dreams…

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (2) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.4 from my #colorsofanapocalypseshow, past-present-future…

View photo

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (9) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.3 from my #colorsofanapocalypseshow, Mailys and Aurelien first visitors from Paris.

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.2 from my #colorsofanapocalypseshow, all is ready.

View photo

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.1 from my #colorsofanapocalypseshow, great article on Settimanale di Como magazine.

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (7) (640x227)

%d bloggers like this: