Barletta again host a major exhibition Sull'Ottocento.
Coinciding with the inauguration of the Pinacoteca Giuseppe De Nittis, at the Palazzo della Marra Barletta, opens the exhibition "De Nittis Zandomeneghi Renoir. The painters of happiness "from March 31 until July 15, 2007.
The beautiful baroque structure of the Palazzo della Marra, restored and rearranged to accommodate the permanent collection of De Nittis Barletta, becomes a container of international art, which combines a permanent museum exhibition venue for temporary events and point of reference for studies and research on the art of 'Ottocento.Il context has a charm undeniable and the appearance of the sea, the literary cafe, bookshop, elevate the Pinacoteca Giuseppe De Nittis Barletta at the highest levels of usability European art.
The exhibition, curated by Emanuela Angiuli Tulliola SPARAGNA and is composed of about eighty paintings, drawings, pastels and graphics Zandomeneghi, De Nitti and Renoir.
The three artists, leaders of the Parisian art scene, each with their own dress code, and in particular periods of activity, revealed in reports that the exhibition highlights, bonds of friendship, impressionistic feeling of neighborhood, of contradictions, originality marking the same exposure and studies that stem from it. While De Nittis
it runs in the 70s and early 80s of the nineteenth century, a road has already been done with highly original, unconventional classifiers of the time, and Renoir Zandomeneneghi live a relationship that is becoming more and more neighboring terms of design and content of representations of the bourgeois world that inspired them.
exhibition in Barletta, can be seen as exceptional works of Zandomeneghi Honeymoon (Fishing on the Seine) (c. 1878) from Palazzo Pitti, the Moulin de la Galette by the Fondazione Enrico Piceni, coffee (1884) by Mondadori collection of Palazzo Te in Mantova, and masterpieces such as Renoir's Le Chapeau épingle (summer hat) (1894) Foundation EG Bührle Zurich, Cagnes Landscape (1905-8) from the Magnani Rocca Foundation, the beautiful Baigneuse (reclining nude) (1902) from the Beyeler Gallery in Basel, and many others, including paintings, pastels and engravings from important public and private collections.
Alongside these are some exemplary works of Giuseppe De Nittis homonymous gallery, such as Landscape, Spring, and Veli sete.Nonostante recent exhibitions in Milan, Rome and dedicated to Zandomeneghi Castiglioncello, which illuminated the dense network of relationships of 'Tuscan artist with friends macchiaiolo environment and the Impressionists presents the work of large areas of shade and still remains at the bottom of a figure poised between the references to culture and Italian tradition and the stylistic innovations introduced by impressionism. Last
italiens de Paris of the three to reach the French capital, where he arrived in June of 1874, Frederick Zandomeneghi like Boldini and De Nitti, there is the creative ideas to develop a personal style, they blend echoes Italian and French influences .
Zand is certainly the Italian artist who has had deeper relationships, sustainable and collaborative with the Impressionist group, participates in a collective group and befriended Degas, Pissarro and Guillaumin, but at the same time as his country, aim to impose their own personal style is not completely resting on the styles of the Impressionist school.
The real comparison is not so Zandomenghi and Renoir, the artist when he joined the group of dessinateurs, led by Degas as opposed to coloristes such as Monet, Renoir, Pissarro.
Instead, especially after 1894, after the contract made with the dealer Durand-Ruel, the Italian artist who comes up against the works of two artists of the gallery, Degas and Renoir, even presenting them as a substitute, a substitute, an equivalent, used by Durand-Ruel to please the market, particularly American.
During this time the two artists have studios nearby, so does the intersection of art is often tight. For example, in the languid nude or careful look at and love for the woman of his movements and his intimate moments of everyday life.
In later years of their production (Zandomeneghi died in 1917, Renoir in '22), both developed a keen interest, unusual among the Impressionists, for painting flowers and still life, particularly fish.
At splendor of gems and soft sensual painting by Renoir, in particular during the nacre, Zandomeneghi responds with its sumptuous palette, characterized by a sombre, hours bright and festive in oils and pastels.
Watching, listening and discussing, I changed and like all others by Pissarro, Degas, Manet to Renoir in my artistic life was an endless succession of developments.
As for technique - very vague word - the one I used is mine, all mine and not borrowed from anyone, points out Zandomeneghi, shady artist and proud, quick to point out his independence of spirit.
To better investigate the relationship artistic De Nitti - Zandomeneghi - Renoir, the exhibition, runs into topics that reveal the rich pictorial suggestions of a season that changes the ideology underlying the cultural vision the world, society, truth.
You will enter the first section, À la campagne, where the parade of the Mediterranean landscapes of the three artists: Spring and Campo De Nittis chariot along with the views of dense vegetation, sparkling colors of Renoir's sunny and Zanda.
The landscape of the countryside comes alive after figures of young girls by playing Renoir putting flowers in their hats, Le Chapeau épingle (summer hat) (1894), to the tenant a bouquet Femme (Woman with a bouquet) and Idylle (I boyfriends) of Zandomeneghi.
Suburbs, parks, gardens reveal now a happy Paris, flowers and floral, like a perennial spring that more than one season is a time of soul, led by the hand by an inner happiness to represent also create still lifes, as in Plate with fish and fish Zandomeneghi (1917) Renoir.
"The flower of the epidermis, the velvet of the flesh" is the second issue dedicated to the nude. De Nittis back here with the pearl and tender Ondina in front of the meat soft and bright Zandomeneghi, closer to Degas with the tub (the tub), and after the bath that Renoir Joris-Karl Huysmans called "the true artist young women, of which he can make, in the joy of the sun, the flower of the epidermis, the velvet of the flesh. "
Copy the
Baigneuse (reclining nude) (1902). Among the many triumphs of moments en plein air painting on which it feeds by the Impressionists onwards, giving the vividness of life lived in a world of figures from the movements luminescence light, almost dancing in the air, the nudes of Renoir speak of beauty triumphant in pink swelling of the breasts, hips, legs. Those
Zand are in the delicacy of nudity revealed in secret rooms.
E De Nitti, in front of the entry model in the study, in 1876 wrote in his notebook: "Without any uncertainty took a standing position, as it did a craft, then the burnous slipped, got up slowly arms with a gesture of a perfect rhythm, clasped her hands on her head and arched his hips: breasts looms over the broad chest. I was dazzled. "
The third section talks about Paris, the night the day, with works by three great artists. We meet here the time of the day shooting in the spontaneous gestures of Awakening, accoudée Femme sur un fauteuil, Bavardage of Zandomeneghi, the denittisiani Bonne, black women, bust of a woman along with engravings by De Nittis and Renoir.
Evenings of French capital spend in the coffee (1884), Moulin de la Galette, in the rituals of tea and in the performances of the night among young ballet dancers in tutus Zandomeneghi.
Women's Renoir and De Nittis Zandomeneghi and it shows in their individuality of models and companions (the beautiful pastel portrait of Mathilde, one of the favorite models of Zanda) and their human and social type (always Zand, The Merchant de fleurs / The flower of Montmartre).
For them, the female body remains at the heart of the vision of life, synonymous with charm, happiness, suggestive promises. Caught in clothing as in its natural beauty, domesticity or the sophisticated elegance, this is the essence of painting, a paradigm where the masterpieces of the exhibition will remain tied up their latest works.
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And now it's up to me: I went with the plague;) Display not very big, but very very nice, there are mainly works of Zandomeneghi and De Nittis but obviously quelel Renoir's wonderful!
the next ... ;)
.jpe)
