1.
Bologna
–
Bologna is the largest city of the Emilia-Romagna Region in Northern Italy. It is the seventh most populous city in Italy, located in the heart of an area of about one million. The first settlements back to at least 1000 BC. The city has been a centre, first under the Etruscans. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna is also an important transportation crossroad for the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index of 2009, Bologna is the first Italian city, Bologna is home to numerous prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture and in 2006, the city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world. Bologna is also one of the wealthiest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country, after a long decline, Bologna was reborn in the 5th century under Bishop Petronius. According to legend, St. Petronius built the church of S. Stefano. After the fall of Rome, Bologna was a stronghold of the Exarchate of Ravenna in the Po plain. In 728, the city was captured by the Lombard king Liutprand, the Germanic conquerors formed a district called addizione longobarda near the complex of S. Stefano. Charlemagne stayed in this district in 786, traditionally said to be founded in 1088, the University of Bologna is widely considered to be the first university. The university originated as a centre of study of medieval Roman law under major glossators. It numbered Dante, Boccaccio and Petrarca among its students, the medical school is especially famous. In the 12th century, the families engaged in continual internecine fighting. Troops of Pope Julius II besieged Bologna and sacked the artistic treasures of his palace, in 1530, in front of Saint Petronio Church, Charles V was crowned Holy Roman Emperor by Pope Clement VII. Then a plague at the end of the 16th century reduced the population from 72,000 to 59,000, the population later recovered to a stable 60, 000–65,000. However, there was also great progress during this era, in 1564, the Piazza del Nettuno and the Palazzo dei Banchi were built, along with the Archiginnasio, the centre of the University
Bologna
–
A collage of the city, showing
Fountain of Neptune,
Piazza Maggiore,
Basilica of San Petronio,
Two towers (Due Torri),
Tagliatelle al
ragù bolognese (dish of Bologna origin), and endless city arcades typical for Bologna
Bologna
–
Porta Maggiore, one of the twelve medieval city gates of Bologna.
Bologna
–
Depiction of a 14th-century fight between the militias of the Guelf and Ghibelline factions in Bologna, from the Croniche of Giovanni Sercambi of Lucca.
Bologna
–
Bologna in 1640.
2.
Italy
–
Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
–
The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
–
The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
–
Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
3.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
4.
Printmaking
–
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaking
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaking
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaking
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaking
–
External video
5.
Metaphysical art
–
Metaphysical art was a style of painting that flourished mainly between 1911 and 1920 in the works of the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a threatening, mysterious quality. De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school, while Futurism staunchly rejected the past, other modern movements identified a nostalgia for the now faded Classical grandeur of Italy as a major influence in their art. Giorgio De Chirico first developed the style that he later called Metaphysical Painting while in Milan and it was in the more sedate surroundings of Florence, however, that he subsequently developed his emphasis on strange, eerie spaces, based upon the Italian piazza. Many of De Chiricos works from his Florence period evoke a sense of dislocation between past and present, between the subject and the space he or she inhabits. These works soon drew the attention of artists such as Carlo Carrà. The arcades in this painting, as well as the deep space and dark-toned sky, are pictorial devices typical of De Chirico’s strange. He gave his paintings enigmatic titles—such as The Nostalgia of the Infinite, The Philosopher’s Conquest, other Metaphysical painters included Filippo de Pisis and Mario Sironi. The Metaphysical school proved short-lived, it came to an end about 1920 because of dissension between De Chirico and Carrà over who had founded the group, Giorgio de Chirico, The Spirits Released, De Chirico and Metaphysical Perspective
Metaphysical art
–
The Disquieting Muses by Giorgio de Chirico
Metaphysical art
–
The Song of Love by Giorgio de Chirico
6.
Futurism
–
Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
Futurism
–
Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
Futurism
–
Futurists
Luigi Russolo,
Carlo Carrà,
Filippo Tommaso Marinetti,
Umberto Boccioni and
Gino Severini in front of Le Figaro, Paris, February 9, 1912
Futurism
–
Giacomo Balla, Abstract Speed + Sound, 1913–1914
Futurism
–
Umberto Boccioni, sketch of
The City Rises (1910)
7.
Realism (art)
–
Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
Realism (art)
–
Bonjour, Monsieur Courbet, 1854. A Realist painting by
Gustave Courbet.
Realism (art)
–
Realist or illusionistic detail of the
convex mirror in the
Arnolfini Portrait by
Jan van Eyck, 1434
Realism (art)
–
Lord Leighton 's
Cimabue's Celebrated Madonna of 1853-55 is at the end of a long tradition of illusionism in painting, but is not Realist in the sense of Courbet's work of the same period.
Realism (art)
–
Woodcutting, miniature from a set of
Labours of the Months by
Simon Bening, c. 1550
8.
Still life
–
A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious, some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. Still life emerged from the painting of details in larger compositions with subjects, the term includes the painting of dead animals, especially game. Live ones are considered art, although in practice they were often painted from dead models. The still-life category also shares commonalities with zoological and especially botanical illustration, generally a still life includes a fully depicted background, and puts aesthetic rather than illustrative concerns as primary. Still life occupied the lowest rung of the hierarchy of genres, the trompe-lœil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Still-life paintings often adorn the interior of ancient Egyptian tombs and it was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects, by the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains and these vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of painting, genre painting. He singled out Peiraikos, whose artistry is surpassed by only a very few, by 1300, starting with Giotto and his pupils, still-life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance, still life in Western art remained primarily an adjunct to Christian religious subjects, painters like Jan van Eyck often used still-life elements as part of an iconographic program. Petrus Christus’ portrait of a bride and groom visiting a goldsmith is an example of a transitional still life depicting both religious and secular content. Another similar type of painting is the family portrait combining figures with a table of food. Around this time, simple still-life depictions divorced of figures were beginning to be painted on the outside of shutters of private devotional paintings, another step toward the autonomous still life was the painting of symbolic flowers in vases on the back of secular portraits around 1475. This was a development by Pieter Aertsen, whose A Meat Stall with the Holy Family Giving Alms introduced the type with a painting that still startles. A small religious scene can often be out in the distance
Still life
–
Jan Brueghel the Elder (1568–1625), Bouquet (1599),
Kunsthistorisches Museum,
Vienna. Some of the earliest examples of still life were paintings of flowers by Northern Renaissance, Dutch, and Flemish painters.
Still life
–
Still life on a 2nd-century mosaic, with fish, poultry, dates and vegetables from the
Vatican museum
Still life
–
Glass bowl of fruit and vases.
Roman wall painting in
Pompeii (around 70 AD),
Naples National Archaeological Museum,
Naples,
Italy
Still life
–
Hans Memling (1430–1494), Vase of Flowers (1480), Museo Thyssen-Bornemisza,
Madrid. According to some scholars the Vase of Flowers is filled with religious symbolism.
9.
Rembrandt
–
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month
Rembrandt
–
Self-Portrait with Beret and Turned-Up Collar (1659),
National Gallery of Art, Washington, D.C.
Rembrandt
–
The Prodigal Son in the Tavern, a self-portrait with Saskia, c. 1635
Rembrandt
–
Portrait of
Saskia van Uylenburgh, ca. 1635
Rembrandt
–
Rembrandt Memorial Marker Westerkerk Amsterdam
10.
Derain
–
André Derain was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse. Derain was born in 1880 in Chatou, Yvelines, Île-de-France, in 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, and there met Matisse. Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure, the vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or the wild beasts, marking the start of the Fauvist movement. In March 1906, the art dealer Ambroise Vollard sent Derain to London to produce a series of paintings with the city as subject. In 30 paintings, Derain presented a portrait of London that was different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and these London paintings remain among his most popular work. Art critic T. G Rosenthal, Not since Monet has anyone made London seem so fresh, in 1907 art dealer Daniel-Henry Kahnweiler purchased Derains entire studio, granting Derain financial stability. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso, fernande Olivier, Picassos mistress at the time, described Derain as, Slim, elegant, with a lively colour and enamelled black hair. With an English chic, somewhat striking, fancy waistcoats, ties in crude colours, red and green. Always a pipe in his mouth, phlegmatic, mocking, cold, at Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of Cubism and Paul Cézanne. Derain supplied woodcuts in primitivist style for an edition of Guillaume Apollinaires first book of prose and he displayed works at the Neue Künstlervereinigung in Munich in 1910, in 1912 at the secessionist Der Blaue Reiter and in 1913 at the seminal Armory Show in New York. He also illustrated a collection of poems by Max Jacob in 1912, at about this time Derains work began overtly reflecting his study of the Old Masters. The role of color was reduced and forms became austere, the years 1911–1914 are sometimes referred to as his gothic period, after the war, Derain won new acclaim as a leader of the renewed classicism then ascendant. With the wildness of his Fauve years far behind, he was admired as an upholder of tradition, in 1919 he designed the ballet La Boutique fantasque for Diaghilev, leader of the Ballets Russes. A major success, it would lead to his creating many ballet designs, during the German occupation of France in World War II, Derain lived primarily in Paris and was much courted by the Germans because he represented the prestige of French culture. Derain accepted an invitation to make a visit to Germany in 1941. Derains presence in Germany was used effectively by Nazi propaganda, and after the Liberation he was branded a collaborator, a year before his death, he contracted an eye infection from which he never fully recovered. He died in Garches, Hauts-de-Seine, Île-de-France, France in 1954 when he was struck by a moving vehicle, Derains London paintings were the subject of a major exhibition at the Courtauld Institute from 27 October 2005 to 22 January 2006
Derain
–
André Derain, 1903
Derain
–
André Derain, 1905, Le séchage des voiles (The Drying Sails), oil on canvas, 82 x 101 cm,
Pushkin Museum, Moscow. Exhibited at the 1905
Salon d'Automne
Derain
–
André Derain, 1906, La jetée à L'Estaque, oil on canvas, 38 x 46 cm
Derain
–
André Derain, c.1908, Baigneuses (Esquisse), oil on canvas, 38 x 46 cm,
Musée d'Art Moderne de la Ville de Paris
11.
Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Picasso
–
Picasso in 1908
Picasso
–
Pablo Picasso with his sister Lola, 1889
Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
12.
Giotto
–
Giotto di Bondone, known mononymously as Giotto and Latinized as Giottus, was an Italian painter and architect from Florence in the late Middle Ages. He is generally considered the first in a line of artists who contributed to the Renaissance. Giottos masterwork is the decoration of the Scrovegni Chapel in Padua, also known as the Arena Chapel and this fresco cycle depicts the Life of the Virgin and the Life of Christ. It is regarded as one of the masterpieces of the Early Renaissance. That Giotto painted the Arena Chapel and that he was chosen by the Commune of Florence in 1334 to design the new campanile of Florences Cathedral are among the few certainties of his biography. Tradition holds that Giotto was born in a farmhouse, perhaps at Colle di Romagnano or Romignano, since 1850, a tower house in nearby Colle Vespignano has borne a plaque claiming the honor of his birthplace, an assertion commercially publicized. However, recent research has suggested that he was born in Florence. His fathers name was Bondone, and he is described in surviving records as a person of good standing. Most authors accept that Giotto was his name, but it is likely to have been an abbreviation of Ambrogio or Angelo. The year of his birth is calculated from the fact that Antonio Pucci, however, the word seventy fits into the rhyme of the poem better than would have a longer and more complex age, so it is possible that Pucci used artistic license. In his Lives, Giorgio Vasari states that Giotto was a shepherd boy, the great Florentine painter Cimabue discovered Giotto drawing pictures of his sheep on a rock. They were so lifelike that Cimabue approached Giotto and asked if he could take him on as an apprentice, Cimabue was one of the two most highly renowned painters of Tuscany, the other being Duccio, who worked mainly in Siena. Vasari recounts a number of stories about Giottos skill as a young artist. He tells of one occasion when Cimabue was absent from the workshop, later when Cimabue returned, he tried in vain several times to brush the fly off. The messenger departed ill pleased, not doubting that he had made a fool of. The messenger brought other artists drawings back to the Pope in addition to Giottos, many scholars today are uncertain about Giottos training, and consider Vasaris account that he was Cimabues pupil as legend, citing earlier sources which suggest that Giotto was not Cimabues pupil. About 1290, Giotto married Ciuta, the daughter of Lapo del Pela of Florence, the marriage produced four daughters and four sons, one of whom became a painter. By 1301, Giotto owned a house in Florence, and when he was not traveling he would return there and live in comfort with his family
Giotto
–
Statue representing Giotto, outside the Uffizi
Giotto
–
A portrait of
Dante by Giotto
Giotto
–
One of the Legend of St. Francis frescoes at
Assisi, the authorship of which is disputed
Giotto
–
The
Crucifixion of Rimini
13.
Masaccio
–
Masaccio, born Tommaso di Ser Giovanni di Simone, was the first great Italian painter of the Quattrocento period of the Italian Renaissance. Masaccio died at twenty-six and little is known about the circumstances of his death. The name Masaccio is a version of Maso, meaning clumsy or messy Tom. The name may have created to distinguish him from his principal collaborator, also called Maso. Despite his brief career, he had a influence on other artists. He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time, Masaccio was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno. His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello and his family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers. Masaccios father died in 1406, when he was five, later that same year a brother was born. He also was to become a painter, with the nickname of lo Scheggia meaning the splinter, there is no evidence for Masaccios artistic education, however Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Johannis Simonis pictor populi S. Nicholae de Florentia, the first works attributed to Masaccio are the San Giovenale Triptych, now in the Museum of Cascia di Reggello near Florence, and the Virgin and Child with Saint Anne at the Uffizi. The San Giovenale altarpiece was discovered in 1961 in the church of San Giovenale at Cascia di Reggello and it depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the panel, and Sts. Juvenal and Anthony Abbot in the right panel, the painting has lost much of its original framing, and its surface is badly abraded. The second work was perhaps Masaccios first collaboration with the older and already-renowned artist, Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne. Masolinos figures are delicate, graceful and somewhat flat, while Masaccios are solid, in Florence, Masaccio could study the works of Giotto and become friends with Brunelleschi and Donatello. It was destroyed when the cloister was rebuilt at the end of the 16th century. With the two artists probably working simultaneously, the painting began around 1425, but for reasons the chapel was left unfinished. As a whole the frescoes represent human sin and its redemption through the actions of Peter, the style of Masaccios scenes shows the influence of Giotto especially
Masaccio
–
Detail of St. Peter Raising the Son of Theophilus and St. Peter Enthroned as First Bishop of Antioch, Brancacci Chapel, S. Maria del Carmine, Florence
Masaccio
–
San Giovenale Triptych (1422)
Masaccio
–
Masolino & Masaccio,
Virgin and Child with Saint Anne (c. 1424), Uffizi
Masaccio
–
The Tribute Money, fresco in the
Brancacci Chapel in Santa Maria del Carmine, Florence
14.
Piero Della Francesca
–
Piero della Francesca was an Italian painter of the Early Renaissance. As testified by Giorgio Vasari in his Lives of the Most Excellent Painters, Sculptors, nowadays Piero della Francesca is chiefly appreciated for his art. His painting is characterized by its humanism, its use of geometric forms. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo. He was most probably apprenticed to the local painter Antonio di Giovanni dAnghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438. Besides, he took notice of the work of some of the Sienese artists active in San Sepolcro during his youth. In 1439 Piero received, together with Domenico Veneziano, payments for his work on frescoes for the church of SantEgidio in Florence, in Florence he must have met leading masters like Fra Angelico, Luca della Robbia, Donatello and Brunelleschi. The classicism of Masaccios frescoes and his figures in the Santa Maria del Carmine were for him an important source of inspiration. Dating of Pieros undocumented work is difficult because his style does not seem to have developed over the years, in 1442 he was listed as eligible for the City Council of San Sepolcro. Three years later, he received the commission for the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro, in 1449 he executed several frescoes in the Castello Estense and the church of SantAndrea of Ferrara, also lost. His influence was strong in the later Ferrarese allegorical works of Cosimo Tura. Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta, in this sojourn he executed in 1451 the famous fresco of St. Sigismund and Sigismondo Pandolfo Malatesta in the Tempio Malatestiano, as well as Sigismondos portrait. Thereafter Piero was active in Ancona, Pesaro and Bologna, in 1454 he signed a contract for the Polyptych of Saint Augustine in the church of SantAgostino in Sansepolcro. The central panel of this polyptic is lost and the four panels of the wings, a few years later, summoned by Pope Nicholas V, he moved to Rome, here he executed frescoes in the Basilica di Santa Maria Maggiore, of which only fragments remain. Two years later he was again in the Papal capital, for frescoes in Vatican Palace which have also been destroyed, the Baptism of Christ, in The National Gallery in London, was executed around 1460 for the high altar of the church of the Priory of S. Other notable works of Piero della Francescas maturity are the frescoes of the Resurrection of Christ in Sansepolcro, in 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished before 1466, probably between 1452 and 1456, the cycle of frescoes, depicting the Legend of the True Cross, is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from medieval sources as to how timber relics of the True Cross came to be found
Piero Della Francesca
–
A self-portrait, detail from
The Resurrection
Piero Della Francesca
–
The
Baptism of Christ, (c. 1450) (
National Gallery, London).
Piero Della Francesca
–
St. Sigismund and Sigismondo Pandolfo Malatesta (1451)
Piero Della Francesca
–
Legend of the True Cross – the
Queen of Sheba meeting with
King Solomon.
15.
Paolo Uccello
–
Paolo Uccello, born Paolo di Dono, was an Italian painter and mathematician who was notable for his pioneering work on visual perspective in art. In his book, Lives of the Artists, Giorgio Vasari wrote that Uccello was obsessed by his interest in perspective, while his contemporaries used perspective to narrate different or succeeding stories, Uccello used perspective to create a feeling of depth in his paintings. His best known works are the three representing the battle of San Romano, which were wrongly entitled the Battle of Sant Egidio of 1416 for a long period of time. Paolo worked in the Late Gothic tradition, emphasizing colour and pageantry rather than the classical realism that other artists were pioneering and his style is best described as idiosyncratic, and he left no school of followers. He has had influence on twentieth-century art and literary criticism. The sources for Paolo Uccello’s life are few, Giorgio Vasari’s biography, written 75 years after Paolo’s death, due to the lack of sources, even his date of birth is questionable. It is believed that Uccello was born in Pratovecchio in 1397, and his tax declarations for some years indicate that he was born in 1397 and his father, Dono di Paolo, was a barber-surgeon from Pratovecchio near Arezzo, his mother, Antonia, was a high-born Florentine. His nickname Uccello came from his fondness for painting birds, from 1412 until 1416 he was apprenticed to the famous sculptor Lorenzo Ghiberti. Ghiberti was the designer of the doors of the Florence Baptistery, ghibertis late-Gothic, narrative style and sculptural composition greatly influenced Paolo. It was also around this time that Paolo began his friendship with Donatello. In 1414, Uccello was admitted to the guild, Compagnia di San Luca. These featured a scene that might well have impressed itself in the mind of the young Uccello. According to Vasari, Uccello’s first painting was a Saint Anthony between the saints Cosmas and Damianus, a commission for the hospital of Lelmo, next, he painted two figures in the convent of Annalena. Shortly afterwards, he painted three frescoes with scenes from the life of Saint Francis above the door of the Santa Trinita church. For the Santa Maria Maggiore church, he painted a fresco of the Annunciation, in this fresco, he painted a large building with columns in perspective. According to Vasari, people found this to be a great and beautiful achievement because this was the first example of how lines could be used to demonstrate perspective. As a result, this became a model for artists who wished to craft illusions of space in order to enhance the realness of their paintings. Paolo painted the Lives of the Church Fathers in the cloisters of the church of San Miniato, Uccello was asked to paint a number of scenes of distempered animals for the house of the Medici
Paolo Uccello
–
Portrait of Paolo Uccello (unknown artist) Louvre Museum, Paris
Paolo Uccello
–
Funerary Monument to Sir John Hawkwood
Paolo Uccello
–
Saint George and the Dragon (c. 1470), showing Uccello's Gothic influences.
Paolo Uccello
–
The Battle of San Romano, c. 1438–1440. Egg tempera with walnut oil and linseed oil on poplar. 181.6 x 320 cm.
Uffizi.
16.
Futurism (art)
–
Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
Futurism (art)
–
Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
Futurism (art)
–
Futurists
Luigi Russolo,
Carlo Carrà,
Filippo Tommaso Marinetti,
Umberto Boccioni and
Gino Severini in front of Le Figaro, Paris, February 9, 1912
Futurism (art)
–
Giacomo Balla, Abstract Speed + Sound, 1913–1914
Futurism (art)
–
Umberto Boccioni, sketch of
The City Rises (1910)
17.
Henri Rousseau
–
Henri Julien Félix Rousseau was a French post-impressionist painter in the Naïve or Primitive manner. He was also known as Le Douanier, a description of his occupation as a toll collector. Ridiculed during his lifetime by critics, he came to be recognized as a genius whose works are of high artistic quality. Rousseaus work exerted an influence on several generations of avant-garde artists. Rousseau was born in Laval, France, in 1844 into the family of a plumber, he was forced to work there as a small boy. He attended Laval High School as a day student, and then as a boarder after his father became a debtor, though mediocre in some of his high school subjects, Rousseau won prizes for drawing and music. After high school, he worked for a lawyer and studied law and he served four years, starting in 1863. With his fathers death, Rousseau moved to Paris in 1868 to support his mother as a government employee. In 1868, he married Clémence Boitard, his landlords 15-year-old daughter, in 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898 and he started painting seriously in his early forties, by age 49, he retired from his job to work on his art full-time. Rousseau claimed he had no other than nature, although he admitted he had received some advice from two established Academic painters, Félix Auguste Clément and Jean-Léon Gérôme. Essentially, he was self-taught and is considered to be a naïve or primitive painter and his best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in books and the botanical gardens in Paris. He had also met soldiers during his term of service who had survived the French expedition to Mexico, along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs. Rousseaus flat, seemingly childish style was disparaged by many critics and his ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance. Many observers commented that he painted like a child, but the work shows sophistication with his particular technique, from 1886, he exhibited regularly in the Salon des Indépendants, and, although his work was not placed prominently, it drew an increasing following over the years. Yet it was more than a decade before Rousseau returned to depicting his vision of jungles, in 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910
Henri Rousseau
–
Portrait of Henri (Le Douanier) Rousseau, 1910, photograph: Pablo Picasso
Henri Rousseau
–
Self-portrait of the Artist with a Lamp
Henri Rousseau
–
Tiger in a Tropical Storm (Surprised!) (1891) was the first of many jungle scenes for which Rousseau is best known.
Henri Rousseau
–
The Hungry Lion Throws Itself on the Antelope, 1905
18.
Metaphysical painting
–
Metaphysical art was a style of painting that flourished mainly between 1911 and 1920 in the works of the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a threatening, mysterious quality. De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school, while Futurism staunchly rejected the past, other modern movements identified a nostalgia for the now faded Classical grandeur of Italy as a major influence in their art. Giorgio De Chirico first developed the style that he later called Metaphysical Painting while in Milan and it was in the more sedate surroundings of Florence, however, that he subsequently developed his emphasis on strange, eerie spaces, based upon the Italian piazza. Many of De Chiricos works from his Florence period evoke a sense of dislocation between past and present, between the subject and the space he or she inhabits. These works soon drew the attention of artists such as Carlo Carrà. The arcades in this painting, as well as the deep space and dark-toned sky, are pictorial devices typical of De Chirico’s strange. He gave his paintings enigmatic titles—such as The Nostalgia of the Infinite, The Philosopher’s Conquest, other Metaphysical painters included Filippo de Pisis and Mario Sironi. The Metaphysical school proved short-lived, it came to an end about 1920 because of dissension between De Chirico and Carrà over who had founded the group, Giorgio de Chirico, The Spirits Released, De Chirico and Metaphysical Perspective
Metaphysical painting
–
The Disquieting Muses by Giorgio de Chirico
Metaphysical painting
–
The Song of Love by Giorgio de Chirico
19.
Fascism
–
Fascism /ˈfæʃɪzəm/ is a form of radical authoritarian nationalism that came to prominence in early 20th-century Europe. The first fascist movements emerged in Italy during World War I, opposed to liberalism, Marxism, and anarchism, fascism is usually placed on the far-right within the traditional left–right spectrum. Fascists saw World War I as a revolution that brought changes to the nature of war, society, the state. The advent of war and the total mass mobilization of society had broken down the distinction between civilians and combatants. A military citizenship arose in which all citizens were involved with the military in some manner during the war, Fascism rejects assertions that violence is automatically negative in nature, and views political violence, war, and imperialism as means that can achieve national rejuvenation. Fascists advocate a mixed economy, with the goal of achieving autarky through protectionist and interventionist economic policies. Since the end of World War II in 1945, few parties have openly described themselves as fascist, the descriptions neo-fascist or post-fascist are sometimes applied more formally to describe parties of the far right with ideologies similar to, or rooted in, 20th century fascist movements. The Italian term fascismo is derived from fascio meaning a bundle of rods and this was the name given to political organizations in Italy known as fasci, groups similar to guilds or syndicates. According to Mussolinis own account, the Fascist Revolutionary Party was founded in Italy in 1915, in 1919, Mussolini founded the Fasci Italiani di Combattimento in Milan, which became the Partito Nazionale Fascista two years later. The symbolism of the fasces suggested strength through unity, a rod is easily broken. Similar symbols were developed by different fascist movements, for example, historians, political scientists, and other scholars have long debated the exact nature of fascism. Each interpretation of fascism is distinct, leaving many definitions too wide or narrow, according to many scholars, fascism—especially once in power—has historically attacked communism, conservatism and parliamentary liberalism, attracting support primarily from the far right. Roger Griffin describes fascism as a genus of political ideology whose mythic core in its various permutations is a form of populist ultranationalism. Griffin describes the ideology as having three components, the rebirth myth, populist ultra-nationalism and the myth of decadence. Fascism is a revolutionary, trans-class form of anti-liberal, and in the last analysis. Fascist Philosophies vary by application, but remain distinct by one theoretic commonality, all traditionally fall into the far-right sector of any political spectrum, catalyzed by afflicted class identities over conventional social inequities. John Lukacs, Hungarian-American historian and Holocaust survivor, argues there is no such thing as generic fascism. He claims that National Socialism and Communism are essentially manifestations of populism, Fascism was influenced by both left and right, conservative and anti-conservative, national and supranational, rational and anti-rational
Fascism
–
Georges Sorel
Fascism
–
Enrico Corradini
Fascism
–
Filippo Tommaso Marinetti, Italian modernist author of the
Futurist Manifesto (1909) and later the co-author of the
Fascist Manifesto (1919)
Fascism
–
Benito Mussolini in 1917, as a soldier in
World War I. In 1914, Mussolini founded the
Fasci d'Azione Rivoluzionaria that he led. Mussolini promoted the Italian intervention in the war as a revolutionary nationalist action to liberate Italian-claimed lands from Austria-Hungary.
20.
Venice Biennale
–
The Venice Biennale is an arts organization based in Venice, and also the original and principal exhibition it organizes. The organization changed its name to the Biennale Foundation in 2009, while the exhibition is called the Art Biennale to distinguish it from the organisation. The Art Biennale, a visual art exhibition, is so called as it is held biennially. A year later, the council decreed to adopt a by invitation system, to reserve a section of the Exhibition for foreign artists too, to works by uninvited Italian artists. The first Biennale, I Esposizione Internazionale dArte della Città di Venezia was opened on April 30,1895 by the Italian King and Queen, Umberto I, the first exhibition was seen by 224,000 visitors. In 1910 the first internationally well-known artists were displayed- a room dedicated to Gustav Klimt, a show for Renoir. A work by Picasso was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public, by 1914 seven pavilions had been established, Belgium, Hungary, Germany, Great Britain, France, and Russia. During World War I, the 1916 and 1918 events were cancelled, in 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art,1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there, in 1928 the Istituto Storico dArte Contemporanea opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art, in 1933 the Biennale organised an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section, during World War II, the activities of the Biennale were interrupted,1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, the Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. Peggy Guggenheim was invited to exhibit her famous New York collection,1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964. From 1948 to 1972, Italian architect Carlo Scarpa did a series of interventions in the Biennales exhibition spaces. In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe,1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Rays Aparajito which introduced Indian cinema to the West,1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra
Venice Biennale
–
The 65th
Venice International Film Festival. The
Golden Lion is awarded to the best film screened in competition at the festival.
Venice Biennale
–
Detail of exhibition.
Venice Biennale
–
Biennalist Giardini Main Entrance
Venice Biennale
–
View of "Pump Room", a work by the Hungarian artist Balázs Kicsiny at the Venice Biennale in 2005.
21.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
Rome
Rome
Rome
Rome
22.
Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
Etching
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The Soldier and his Wife. Etching by
Daniel Hopfer, who is believed to have been the first to apply the technique to printmaking
Etching
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Portrait of
Luca Giordano, 18th century
Etching
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Rembrandt,
The Virgin and Child with a Cat, 1654. Original copper etching plate above, example of the print below, with composition reversed.
Etching
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Christ Preaching, known as The
Hundred Guilder Print; etching c1648 by
Rembrandt.
23.
Certosa di Bologna
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The Certosa di Bologna is a former Carthusian monastery in Bologna, northern Italy, which was founded in 1334 and suppressed in 1797. In 1801 it became the city’s Monumental Cemetery which would be praised by Byron. In 1869 an Etruscan necropolis, which had been in use from the sixth to the third centuries BCE, was discovered here. The Certosa is located just outside the walls of the city, near the Stadio Renato DallAra, at the foot of the Monte della Guardia, the church is dedicated to Saint Jerome. The painting over the altar is The Crucifixion by Bartolomeo Cesi, to the left is a Prayer in the Garden of Gethsemane and to the right a Deposition. The wooden inlaid choir stalls were restored by Biagio De Marchi in 1538 after a fire started by the Landsknechts of Charles V, there are paintings of several Carthusian martyrs including the Englishmen Blessed William Exmew, Blessed Thomas Johnson, Blessed Richard Bere, and Blessed Thomas Green. The public cemetery was established in 1801 using the structure of the Certosa di San Girolamo di Casara. In particular the third cloister is noteworthy a tour of neoclassicisminspired structures with simbology from the age of enlightenment, some tombs are painted in tempera, others are made of stucco and scagliola. An aspect that distinguishes the Certosa of Bologna from other cemeteries of Europe is derived from the complex articulation of its use of space. To the original convent nucleus were added lodges, rooms, even the porticoed eastern entrance of the cemetery, which is linked to the one that leads to the Sanctuary of San Luca with only a small break, creates the continuity between necropolis and city. Link to the fallen during the resistance of World War II, link to fallen during World War I
Certosa di Bologna
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Colombario's Hall at La Certosa of Bologna.
24.
Minimalism
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In visual arts, music, and other mediums, minimalism is a style that uses pared-down design elements. Minimalism began in post–World War II Western art, most strongly with American visual arts in the 1960s, prominent artists associated with minimalism include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It derives from the reductive aspects of modernism and is interpreted as a reaction against abstract expressionism. Minimalism in music often features repetition and iteration such as those of the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, the term minimalist often colloquially refers to anything that is spare or stripped to its essentials. It has accordingly been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe a 1913 composition by the Russian painter Kasimir Malevich of a square on a white ground. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, in the wake of those exhibitions and a few others the art movement called minimal art emerged. Minimal art is inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, in general, minimalisms features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials. Robert Morris, a theorist and artist, wrote a three part essay, Notes on Sculpture 1-3, originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and these essays paid great attention to the idea of the gestalt - parts. Bound together in such a way that create a maximum resistance to perceptual separation. Morris later described an art represented by a marked lateral spread, the general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism. Stellas decisions about structures on the front surface of the canvas were therefore not entirely subjective, in the show catalog, Carl Andre noted, Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes, there is nothing else in his painting. Because of a tendency in art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly
Minimalism
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Yves Klein, IKB 191, 1962,
Monochrome painting. Klein was a pioneer in the development of Minimal art.
Minimalism
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Kazimir Malevich, Black Square, 1915, 79.5 x 79.5 cm, oil on canvas,
Tretyakov Gallery, Moscow
Minimalism
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Barnett Newman,
Voice of Fire, 1967,
National Gallery of Canada in
Ottawa
Minimalism
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Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8
25.
Jean Leymarie (art historian)
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Jean Leymarie was a French art historian. Born into a peasant family, he pursued his studies in Toulouse then Paris, after the Second World War, he began his museum career. He was curator at Museum of Grenoble from 1950 to 1955, director of the Musée national dArt moderne from 1968 to 1973 and he taught for a long time at the Swiss universities of Lausanne and Geneva and published several works on the history of art. He remains one of those who imposed 20th-century painting on French national museums, jerome Bosch, Paris,1949 Dutch Painting,1956 French Painting, the 19th century, Cleveland,1962 Hommage à Pablo Picasso, peintures
Jean Leymarie (art historian)
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Jean Leymarie (1967)
26.
Jean Clair
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Jean Clair is the nom de plume of Gérard Régnier. Clair is an essayist, a polemicist, an art historian, an art conservator, and he was, for many years, the director of the Picasso Museum in Paris. Among the milestones of his long and productive career is a catalog of the works of Balthus. He was also the director of the Venice Biennale in 1995 and his father was a farmer with socialist ideas and his mother a devout catholic. Jean Clair was born in the arrondissement of Paris. Then he pursued a degree in literature and sciences at the Sorbonne, specialising in philosophy. There he was a student of the art historian, André Chastel, later, he secured a doctorate in art at the Fogg Art Museum at Harvard University with scholarship support from the financier Arthur Sachs. During his studies he spends a year in the Netherlands and another year in Belgium, during the Algerian war, for a time, he was involved with the Union of Communist Students. Jean Clair enters the world and became the art editor of The “La Nouvelle Revue française”, led by the well-known Marcel Arland. His start as a writer was marked by the publishing in this magazine of a journal-novel under the pseudonym Clair at 22, in 1962. In this journal he expresses the nostalgia of his childhood and adolescence on a farm, in the countryside, for his first job, he was assigned to the Orangerie Museum, but found it so dusty, so bourgeois. He is appointed General National Heritage “conservateur” in 1989 and he was the Director of the Picasso Museum, Paris, France until 2005. Jean Clair was the editor of the Les Chroniques de lart vivant that he directed from 1969 to 1975 and this magazine that was founded by Aimé Maeght and saw the day before Art Press. Jean Clair wrote in this magazine mainly on the new generation of such as Buren, Boltanski, Sarkis, Le Gac. This magazine was a place of observation to reflect on the changes that shook the world of art in all areas. In several works, he denounced the present turn of contemporary art that has broken with the European artistic tradition and he regularly participates in debates on contemporary art and the dissemination of art. Jean Clair is elected to Académie française to the seat of Bertrand Poirot-Delpech on May 22,2008 and he is received « under the Dome of the French Academy by Marc Fumaroli. He is a member of the scholar society Académie du Morvan since 2010, for a complete list see the in the French Wikipedia
Jean Clair
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Jean Clair by Claude Truong-Ngoc 2013
27.
Roberto Longhi
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Roberto Longhi was an Italian academic and art historian. The main subjects of his studies were the painters Caravaggio and Piero della Francesca, Longhi was born in December 1890, at Alba in Piedmont. He studied under Pietro Toesca, in Turin, and Adolfo Venturi in Rome, the latter made him editor of book reviews at the journal LArte, by 1914. Between 1913 and 1917, Longhi, primarily an essayist, published in LArte and La Voce, essays on Mattia Preti, Piero della Francesca, Orazio Borgianni and Orazio Gentileschi. Roberto Longhi developed a fascination with Caravaggio and his followers, his Quesiti caravaggeschi, was followed by the Ultimi studi caravaggeschi, in 1951, Longhi curated a ground-breaking exhibition on Caravaggio in Milan, followed by an artist monograph in 1968. He believed Piero played a role in the development of Viennese painting. This monograph, which Kenneth Clark opined could hardly be improved upon, is a classic of art-historical literature, between 1920 and 1922, Longhi made a Grand Tour of Europe. He never visited Russia, nor some American collections, like the Kress Collection of the National Gallery, however, his first-hand viewing of many works, like those in the Borghese Gallery in Rome, led to the rediscovery of many lost masterpieces. Longhi also rekindled interest in a number of followers of Caravaggio. His study of the painters from Ferrara, Officina Ferrarese is exemplary, along with the publication of the Officinia, Longhi started his academic career, first as Professor at Bologna University, later Florence. From 1950, Longhi edited Paragone, a periodical he founded and contributed to substantially, viatico per cinque secoli di pittura veneziana. Mostra del Caravaggio e dei caravaggeschi Catalogo, edizione delle opere complete di Roberto Longhi. Correggio, the Frescoes in San Giovanni Evangelista in Parma, me pinxit e quesiti caravaggeschi, 1928-1934. Roberto Longhi Biography in Archivio della scuola Romana
Roberto Longhi
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Longhi in around 1960
28.
Federico Fellini
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Federico Fellini was an Italian film director and screenwriter. Known for his style that blends fantasy and baroque images with earthiness. His films have ranked, in such as Cahiers du cinéma and Sight & Sound. Sight & Sound lists his 1963 film 8½ as the 10th greatest film of all time, in 1993, he was awarded an honorary Oscar for Lifetime Achievement at the 65th Annual Academy Awards in Los Angeles. Fellini was born on 20 January 1920, to parents in Rimini. His father, Urbano Fellini, born to a family of Romagnol peasants and small landholders from Gambettola and his mother, Ida Barbiani, came from a bourgeiois Catholic family of Roman merchants. Despite her familys vehement disapproval, she had eloped with Urbano in 1917 to live at his parents home in Gambettola, a civil marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year later. The couple settled in Rimini where Urbano became a traveling salesman, Fellini had two siblings, Riccardo, a documentary director for RAI Television, and Maria Maddalena. In 1924, Fellini started primary school in a run by the nuns of San Vincenzo in Rimini. In 1926, he discovered the world of Grand Guignol, the circus with Pierino the Clown, Guido Brignone’s Maciste all’Inferno, the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire career. Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi ‘Titta’ Benzi, in Mussolini’s Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males. He visited Rome with his parents for the first time in 1933, the sea creature found on the beach at the end of La Dolce Vita has its basis in a giant fish marooned on a Rimini beach during a storm in 1934. To say that my films are autobiographical is an overly facile liquidation and it seems to me that I have invented almost everything, childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them. In 1937, Fellini opened Febo, a shop in Rimini. with the painter Demos Bonini. His first humorous article appeared in the Postcards to Our Readers section of Milan’s Domenica del Corriere, deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938, where he published his first cartoon in the weekly 420. According to a biographer, Fellini found school exasperating and, in one year, had 67 absences, failing his military culture exam, he graduated from high school in July 1938 after doubling the exam. In September 1939, he enrolled in law school at the University of Rome to please his parents, biographer Hollis Alpert reports that there is no record of his ever having attended a class. Installed in a family pensione, he met lifelong friend
Federico Fellini
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Federico Fellini
Federico Fellini
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Federico Fellini during the 1950s
Federico Fellini
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Fellini, Masina, Carla del Poggio and Alberto Lattuada, 1952
Federico Fellini
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Cinecittà - Teatro 5, Fellini's favorite studio
29.
La Dolce Vita
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La Dolce Vita is a 1960 Italian comedy-drama film directed and co-written by Federico Fellini. The film follows Marcello Rubini, a journalist writing for magazines, over seven days and nights on his journey through the sweet life of Rome in a fruitless search for love. La Dolce Vita won the Palme dOr at the 1960 Cannes Film Festival and the Oscar for Best Costumes, based on the most common interpretation of the storyline, the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue. If the evenings of each episode were joined with the morning of the preceding episode together as a day, they would form seven consecutive days. 1st Day Sequence, A helicopter transports a statue of Christ over an ancient Roman aqueduct outside Rome while a second, Marcello Rubinis news helicopter, the news helicopter is momentarily sidetracked by a group of bikini-clad women sunbathing on the rooftop of a high-rise apartment building. Hovering above, Marcello uses gestures to elicit phone numbers from them but fails in his attempt then shrugs, 1st Night Sequence, Marcello meets Maddalena by chance in an exclusive nightclub. A beautiful and wealthy heiress, Maddalena is tired of Rome and they make love in the bedroom of a prostitute to whom they had given a ride home in Maddalena’s Cadillac. 1st Dawn Sequence, Marcello returns to his apartment at dawn to find that his fiancée, on the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room. While waiting frantically for her recovery, however, he tries to make a call to Maddalena. 2nd Day Sequence, That day, he goes on assignment for the arrival of Sylvia, during Sylvias press conference, Marcello calls home to ensure Emma has taken her medication while reassuring her that he is not alone with Sylvia. After the film star confidently replies to the barrage of questions, her boyfriend Robert enters the room late. To Sylvias producer, Marcello casually recommends that Sylvia be taken on a tour of St Peters, inside St Peters dome, a news reporter complains that Sylvia is an elevator because none of them can match her energetic climb up the numerous flights of stairs. Inspired, Marcello maneuvers forward to be alone with her when they reach the balcony overlooking the Vatican. 2nd Night Sequence, That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla, Sylvias natural sensuality triggers raucous partying while Robert, her bored fiancé, draws caricatures and reads a newspaper. His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello, finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain. 2nd Dawn Sequence, Like a magic spell that has suddenly been broken and they drive back to Sylvias hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, 3rd Day Sequence, Marcello meets Steiner, his distinguished intellectual friend, inside a church playing Bach on the organ. Steiner shows off his book of Sanskrit grammar, 4th Day Sequence, Late afternoon, Marcello, his photographer friend Paparazzo, and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children
La Dolce Vita
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Original release poster by Giorgio Olivetti
30.
Michelangelo Antonioni
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Michelangelo Antonioni, Cavaliere di Gran Croce OMRI, was an Italian film director, screenwriter, editor, and short story writer. He produced enigmatic and intricate pieces and rejected action in favor of contemplation, focusing on image and design over character. His films defined a cinema of possibilities and he is one of three directors to have won the Palme dOr, the Golden Lion and the Golden Bear, and the only director to have won these three and the Golden Leopard. Antonioni was born into a family of landowners in Ferrara, Emilia Romagna. He was the son of Elisabetta and Ismaele Antonioni, the director explained to Italian film critic Aldo Tassone, My childhood was a happy one. Was a warm and intelligent woman who had been a laborer in her youth and my father also was a good man. Born into a family, he succeeded in obtaining a comfortable position through evening courses. My parents gave me free rein to do what I wanted, with my brother, curiously enough, our friends were invariably proletarian, and poor. The poor still existed at that time, you recognized them by their clothes, but even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. I always had sympathy for women of working-class families, even later when I attended university, they were more authentic. While still a child, Antonioni was fond of drawing and music, a precocious violinist, he gave his first concert at the age of nine. Although he abandoned the violin with the discovery of cinema in his teens, I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. One of my favorite games consisted of organizing towns, ignorant in architecture, I constructed buildings and streets crammed with little figures. These childhood happenings - I was eleven years old - were like little films, upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist. In 1940, Antonioni moved to Rome, where he worked for Cinema, however, Antonioni was fired a few months afterward. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique and he was drafted into the army afterwards. During the war Antonioni survived being condemned to death for his membership in the resistance, in 1942, Antonioni co-wrote A Pilot Returns with Roberto Rossellini and worked as assistant director on Enrico Fulchignonis I due Foscari. In 1943, he travelled to France to assist Marcel Carné on Les visiteurs du soir and then began a series of films with Gente del Po
Michelangelo Antonioni
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Michelangelo Antonioni, 1995
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