Art Exhibition "OBSESSION NORDIC. Böcklin, Klimt, Munch and Italian painting" Rovigo, Palace oak, 22 February to 22 June 2014. Exhibition will be open until 16 pm in Rovigo, the Palace pubescent.
The Art Nordic (Scandinavian, Baltic, Scottish and German in general) occupied in the early editions of the Venice Biennale, which was founded in 1895, the title role, alongside the residue art pompier and manifestations of 'official academic international, representing an element of novelty and the real turning point towards languages and sensibilities 'modern' and sometimes revolutionary.
Also engraved on the 'evolution of the Italian art such as Vittorio Pica, the Italian critic and perhaps most updated international era, had this to say in 1901 with undoubted efficacy as the Italian artists, young and old, were taken from a kind of Nordic obsession: "The visitor who enters for the first time in several rooms of the Italian section of this fourth exhibition in Venice, and pauses to guardarne, with particular attention, various paintings, large and small, neatly arranged around the walls can not fail to observe that several of our painters, especially if the Veneto or Lombardy, northern manifest themselves deeply influenced by the art, so as to give up some traditional characters of the Italian art to show up disguised as Scots, Scandinavians or Germans. "
Starting from this intuition Pica, who was also the Secretary General of the Biennale for the first time a major exhibition aims to document how the "Nordics", understood in the broadest sense of the term according to the intentions of the critic, Bocklin, Hodler, Klimt, Klinger von Stuck, Khnopff and the Scandinavians of various trends such as Zorn, Larsson or even Munch, influenced Italians, who have experienced the charm or who have embraced with conviction and effective suggestions.
The exhibition, which will be staged in Palazzo Roverella in Rovigo from 22 February to 22 June 2014 is curated by Giandomenico Romanelli and is promoted by the Fondazione Cassa di Risparmio di Padova and Rovigo, in collaboration with the Municipality of Rovigo and the Academy of Concordi .
This major exhibition have been selected a group of key works in the route of choice 'Nordic' of the first Biennials, the kind that, by some recognized suggestionate capiscuola - on all outstanding Arnold Bocklin - have determined choices and artistic and cultural lines destined to score indelibly also shared path and the different trends in Italian art of the early twentieth century, as can be seen in the exhibition.
The course is divided into several sections: Centauri, Tritons, Sirens from the Alps to Laguna; From Symbol to Nature: People of the North; The Poetry of Silence; The Landscape of the Soul: Snow and Fjords, Time and the Seasons; Masks and Faces; Venus without fur; Virtuosity in black.
The show kicks off the story of the first Biennials and their evolution: a showcase of art and historical pompier the triumph of symbolism with the next strong focus on secessions of Monaco, Vienna, Darmstadt and the consequences on the various strands of Italian art, especially in countries 'border' as Trentino, Friuli and Trieste area, also politically engaged in a kind of cultural mediation of singular originality.
The exhibition will pay special attention at the moment 'Swiss' German culture - with Bocklin and Hodler-as well as to the great Viennese and German - Klimt, Klinger and von Stuck-committed between mythological evocations and dense symbolist interpretations of myths not least that of the life and soul of the belle époque central Europe.
The landscape, in its inner meanings and in all its symphonic colorings will be present in the restless and silent Nordic nature, so much in his own unmistakable Scandinavian art, made of snowfields and fjords and beaches where the light paints the most beautiful landscapes spiritual.
Then a look at the domestic interior: a space enveloping, universes and refined compounds, projections of feelings in order to continue with the chapter Masks and portraits in which the human figure, conceived between academic tradition and internal investigation, takes charge of the new tools knowledge and description of the psyche in its multiple and contradictory meanings.
In the section without Fur Venus stands close attention, no longer solely academic or studio, reserved for the naked female body in provocative sensuality (in many ways in keeping with the literary trail of the belle époque in Central European murky atmosphere of seduction) or rediscovered harmony with nature and the open air (as in Zorn).
And to conclude the section virtuosity in black, in which the peculiarities of the incision and the richness of the inks is amazing and virtuosic applications in narrative cycles of extraordinary suggestion, maybe starting from the sixteenth-century tradition and arriving at solutions full of pathos and mystery (not to If the Biennials have a long section of the 'black and white' and engraving the participation of the greatest artists of the moment, as Knopff, Klinger and Munch or Alberto Martini, all featured in the show).
What is proposed, therefore, an intellectual, even before the art of immense charm, full of infinite facets, the result of very different sensibility. And for this seductive and now unavoidable.
Romanelli writes: "just think, to quote one of the most intricate knots and, together, the most fascinating, the tangle of issues that you shake around personalities such as Bocklin and Klinger; and then though, albeit for different roads, and to Stuck De Chirico, Savino and the same Klimt; and the hooks from Nietzsche to literary and philosophical Burckhardt; but also Bachofen and von Hofmannsthal and even D'Annunzio. Here the figure is mixed in esoteric poets and visionaries with an 'insatiable thirst for classical pagan no less than sinking into the depths of consciousness rather than mystical religiosity in black and blasphemous, as in Khnopff and especially in Rops. "
And from us? What's going on and what lines traverse and cut our painting and sculpture during these years? In what is, finally, this 'obsession Nordic' who seduced (with caution!) Vittorio Pica? It passed through such experiences?
It would have some names that will be on display: De Carolis and D'Annunzio, De Maria - the 'painter of the moons', to remain with D'Annunzio -; Sartorio up to the great Laurenti, far away, in Bonazza, almost a suburb of Hodler, although very gifted and often ironic; Finally, neglecting other prominent names, with the most Klimt landscape of our own, Wolf Ferrari, elegant, refined, provincial luxury.