Login Sign in ^
Sign up Weekeep! Find your Facebook friends, organize your travel and visit over 1,000,000 events around the world!
Access with Facebook
Access with Google+
Facebook Google+
Best Deals
Mostra tutte le 7 categorieMostra meno categorie
Mostra tutte le 11 LOCALITAMostra meno località
Mostra tutte le 23 sistemazioniMostra meno sistemazioni
PRICE : from € a
STELLE : da a
Mostra tutte le 13 categorieMostra meno categorie
Mostra tutte le 13 categorieMostra meno categorie


via monterone 13, Rome, Italy

Gallery of Laocoon Rome FRESCOS LOST CASTLE KNIGHTS AT RHODES PIETRO GAUDENZI (Genoa 1880 - Anticoli Corrado 1955) by Marco Fabio Apolloni and Monica Cardarelli 1 October 2014 - 31 January 2015 Inauguration, October 1 at 18:30 (invitation only) Press Preview, October 1, from 12 to 13 (reception after crediting) I am completely lost frescoes of the Castle of the Knights in Rhodes made by Peter Gaudenzi. The recent survey has confirmed how important cycle of frescoes painted by the master in the summer of 1938, there is nothing except the bare walls in place capital in the poetic work of Gaudenzi. Particularly significant is, therefore, shows that the gallery presents the Laocoon in Rome from the 1st of October, composed of preparatory cartoons of the frescoes, drawings, sketches and a painting in oil, preliminary monumental work of Peter Gaudenzi lost. The core, significantly reconstructed by the curators of the exhibition, Marco Fabio Apolloni and Monica Cardarelli, is the last remaining evidence of the murals that occupied two rooms, the Hall of the bread and the Hall family, of the monumental castle seat of the Italian Governor of the Dodecanese Thus from 1912 to 1943, the exhibition devoted to the frescoes of Gaudenzi in Rhodes, wants to be a compensation to the memory of the author. The original paintings, documented by period photos and a newsreel Light, were on the second floor, in rooms that are now excluded from the examination. The walls currently show only the bare sandstone blocks of which they are composed: the paintings have disappeared without hope. In addition, the dividing wall of the rooms was demolished in order to compose a single environment, while the floor mosaics remain invisible beneath a wooden platform covered with carpet. For the first time, present themselves publicly cartons, crayon, extraordinary delicacy of touch, which served to cool the realization of the work. It's genre scenes or figures portrayed by the artist in performing menial daily chores in the streets and in the countryside of Anticoli Corrado. Looking at the wheel of Anticoli, Sowing, the Reaping, women who carry the bread on trays or on an axis-aligned flow balanced on their heads, the beautiful woman with floral display loaf, or the young woman with a sheaf of wheat, not you can not recall the rhetoric of the "Battle of the Grain" Mussolini, but the figures of Gaudenzi - though the theme is going to win even with his triptych painting, echoing the frescoes in Rhodes, the prize Cremona in 1940 - seem unperturbed, in the fixity of their age-old customs and immutable, the emphasis triumphalistic of the moment. The two cycles are one of the works of art of the fascist extreme, but for different lyrical abstraction from such brutal mural of propaganda. The TUNNEL LAOCOONTE presents, as well, a series of considerable artistic value of a teacher is insufficient awareness of the twentieth century Italian, and promotes at the same time, an initiative that is also historical evidence. The project was born in the most charming corner of our ephemeral colonial empire, the beautiful island of Rhodes, which was the seat of the Governorate of the Italian Dodecanese from 1912 to 1943 Fascism had modernized Rhodes electing to showcase tourism and comparison of architectural excellence and planning, under the governorship of Mario Lago (1923-1936), Giolitti training, which was able to harmonize the Italian presence with communities Greek, Turkish and Sephardic Jewish, which competed with the delicate cultural blend of Rose Island - rodon is pink in ancient greek - that the Second World War destroyed forever. In 1936, however, he wanted to be appointed Governor of Rhodes - Mussolini and was happy to go along to get him out of the foot - Cesare Maria De Vecchi (Casal Monferrato 1884-Rome 1959), Count of Val Cismon for military merits, already Ras Turin and Governor Somalia. Rhetoric, authoritarian and intolerant, where its predecessor was, prudent, rational and liberal, the new governor elected its largest undertaking the reconstruction of the Castle of the Knights of Rhodes. Perhaps greek temple, then Byzantine fortress, the castle was built by the Order of the Knights of St. John, who had to leave the island to the Turks in 1522 In 1856 it was destroyed by the explosion of a powder magazine and accidentally changed into a prison. Mario Lago he wanted to restore it to enhance it as "magnificent ruins", De Vecchi instead wanted to rebuild it completely, getting a "new" castle, almost a backdrop of opera or a movie set where we are surprised to touch real stone and not cardboard. The ambitious work, which was completed in just three years, cost 30 million pounds since then. Five hundred stonecutters and masons were brought in from Puglia, teams of mosaic from Florence and Venice to restore and put into practice in the ancient floor mosaics found in the archaeological excavations of Coo. The effect is majestic and alienating, that the British occupied the island until '47 described it as "a fascist Folly", today is the most visited monument in the whole of Rhodes. Even more timeless are the cartoons and the figures of the family room, a Visitation and the Nativity great. The marriage, or rather the wedding feast is instead the subject of a large panel painted in oil but we could define small comp, if we think of the previous "Marriage", of which ours is an echo, which Gaudenzi presented at the Venice Biennale 1932: was six and a half meters long and seven meters. He was paid 130 thousand pounds and purchased by Senator Borletti of Milan. Today we do not know what happened. Of this capital in the poetry of Gaudenzi in the gallery will be shown on a screen the photographic documentation, vintage shots in black and white. So much so that he had loved replicate it, and certainly not out of laziness, in one of the walls of the Hall family in Rhodes. Wedding at Cana without a miracle, or wedding feast of Mary and Joseph if they could afford it, Gaudenzi presents the party with the solemnity of a sacred history. The fact is that it takes his: married in 1909 with the beautiful model Anticolana Candida Toppi, it will, together with the four children by her, the constant subject of his paintings, impressionistic late then. Two small children died and the outbreak of the Spanish took away Candida. He married Augusta, sister of his wife, came to Milan to look after orphaned grandchildren. By her he had Candida Maria and James. Not for a Gaudenzi is a painter of motherhood and family affections. One has the strong impression that he has been able to find in painting and transmit the knowledge to the viewer what is impossible: there is a place where the living and the dead who are beloved can live without astonishment, but officiating the gestures of life everyday. Reserved, taciturn creator of a world and a humanity in which the models Enchanted peasants, which he portrayed from life in the country of Anticoli Corrado, which he chose to Arcadia staff, are transfigured by the grace of poetry, so that the human and the divine confused: so Gaudenzi a Holy Family becomes a family, a visit between a Visitation wives, one Sposalizio a simple wedding banquet, without the sense of the sacred is not, but without this betrays a sense of the real. It 's the beauty of humility of the Christian legend, often wonderfully dressed in painting, which has been able to bring Gaudenzi as declination of the twentieth century Italian purist. With simplicity and finesse sincere. The exhibition will be open from 1 October 2014 to 31 January 2015 at the Gallery of the Laocoon, Via Monterone 13 Closed on Mondays. Hours March-sat. 10-13, from 15.30 to 19. Catalog in preparation. Edited by Marco Fabio Apolloni and Monica Cardarelli, data and research to Tonino Coi. Press Office: Rosi Fontana Press & Public Relations, info@rosifontana.it

Visit us
from 1 October 2014 to 31 January 2015



In this area our partners offer: