The elegant nineteenth century. Art in Italy in the name of Fortuny 1860-1890
E 'shows a positive and peaceful one with which the Fondazione Cassa di Risparmio di Padova and Rovigo, the town of Rovigo and the Academy of Arrange pick up the trend in the classic program of exhibitions of the Palace : That of painting in Italy at the turn of the last two centuries.
E 'and an elegant nineteenth century folklore that proposed by the major exhibition at Palazzo oaks, in Rovigo, three decades from 1860 to 1890, characterized by vitality, elegance, the great bourgeois salons, the races, but also of popular festivals, the carnivals, masked balls, of disguises and markets in the square.
Promoted by Fondazione Cassa di Risparmio di Padova and Rovigo, the Municipality of Rovigo and the Academy of Concorde, the exhibition takes up the genre of painting in Italy at the turn of the last two centuries. The focus of Dario Matteoni and Francesca Cagianelli, which shows the are the editors, was concerned about a period, the second half of the nineteenth century, enabled the unification of the Kingdom of Italy.
The exhibition, not to mention the years "shady" that characterized this century, he chose to highlight the glory and abundance, to want to give an account of a vitality and dynamism of a particular, perhaps never again revived by the subsequent history of 'Art in Italy.
color and sensuality are in a Spaniard, Mariano Fortuny, the prophet in paintings. From his land, Mariano Fortuny, brings warmth and vivid colors, joyfulness and playfulness of life, by painting colorful mirror these feelings.
There are many "stories" carried in the works: the celebration of the events homelands, chronicles the social and religious, to the birth of the bourgeoisie, which, in these years, he was redefining its role in the newly formed state and that it would become, until the end of the century, the subject more applicant in the painting of the time.
The elegant nineteenth century: the exhibition of 2011
07/14/2010 - E 'and an elegant nineteenth century folklore that will propose a major exhibition scheduled from January 29 to June 12 2011 to Roverella Palace, in Rovigo. The nineteenth century
vital large and elegant lounge the page, races, dances and receptions. And at the same time, popular feasts, the carnivals, masked balls and meetings between the leaves, of disguise and romances. Then the nineteenth century of dreams populated by plump odalisques and charmed by the disturbing scent of the East.
E 'shows a positive and peaceful one in which the Fondazione Cassa di Risparmio di Padova and Rovigo, the town of Rovigo, Accademia dei Arrange pick up the trend in the classic program of exhibitions of the Palace : that of painting in Italy in turn of the last two centuries.
's attention Dario Matteoni and Francesca Cagianelli , who are the curators of the exhibition, it was pinned on three decades 1860 - 1890 . Three decades of high hopes, euphoria, confidence, started, and somehow turned on, the unification of the Kingdom of Italy.
course was a period of light and shadow and this show chooses, not celebratory intent, much less choose to hide other realities, to highlight the first than the second. A wish to give an account of a vitality and a special vitality, perhaps never again revived by the subsequent history of art in Italy.
color and sensuality that found in a Spaniard, Mariano Fortuny, their prophet in his painting. Fortuny from his land had brought the warmth and color, taste to transpose on canvas joyfulness and playfulness of life, by painting colorful mirror these feelings. Palettes of bright colors, paintings by virtuosic elaboration. Feelings in different schools across the country take very different characteristics: the almost calligraphic taste of some, the brightness - the so-called "Empire of the white" - in others, the color of the eighteenth-century tradition for others.
Just as there are different "stories": the celebration of the events homelands, a social chronicle sometimes steeped in religion, but most share the story of a middle class that he was redefining its role in the new unified state.
It 'obvious that the mechanism of mirroring involves the bourgeoisie and that this will provide a solid basis of success for this painting came up without bending to the '80s: "Ladies and gentlemen fashionable, the rich bourgeois' wrote in 1877 the painter and critic Francis Net Puglia "ritrovavan themselves in those works. Beheld the same clothes they were wearing, they had the carpets at home, the luxury in which they lived, and then satin shoes, white hands, bare arms, small feet, pretty heads. Those figures painted stood idly by as such as they. Than focusing on an object, or blowing with a fan. The busiest were a bit 'of music or reading a novel. It was their portrait rather their apotheosis. And it was a race for them. "
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