Monday, February 17, 2014

Rodin great exhibition in Rome

One of the most important exhibitions of Rodin works (60 works showed), in Rome at Grandi Aule delle Terme di Diocleziano, in Rome, staring febrauary 18:



(automatic transaltion of the Italian press release...sorry)

From February 18 to May 25 , 2014, in the monumental Great Classrooms of the Baths of Diocletian, will be staged exceptional exhibition devoted to Auguste Rodin ( Paris 1840 - Meudon 1917) , after being presented with great success at the Palazzo Reale in Milan.

Produced and promoted by the Superintendence for Archaeological Heritage of Rome, the Musée Rodin in Paris and Electa Civita , the exhibition is curated by Aline Magnien , chief curator of the heritage of the Musée Rodin in Paris , in collaboration with Flavio Arens . The exhibition presents a corpus of over 60 sculptures in marble and is the most comprehensive exhibition that was staged on the marbles of Auguste Rodin, Michelangelo artist with one of the greatest revolutionary tradition of modern plastic .

And Michelangelo, which occur 450 years after his death February 18 , made ​​his mark at the Baths of Diocletian. The environments that formed the heart of the building thermal frigidarium, tepidarium and caldarium were transformed by Michelangelo for the construction of the Basilica of St. Mary of the Angels and Martyrs Christians. In other areas of the Baths was built , designed by the artist himself , the Convent of the Carthusians , which you can admire the cloister from the clear architectural line , inserted in the museum . In this context, architectural historian , two massive and ancient halls of the spa complex housing the three sections of the exhibition, which reads the influence of the French sculptor Michelangelo . Rome has been instrumental in the formation of Rodin , starting with the vision of the Sistine Chapel , where he discovers the weight of solids and voids in the paintings of Michelangelo , the system then returns to its grammar modellativa , and from Moses to St. Peter in Chains resumes function of the backdrop , not to mention the "unfinished" by Michelangelo for the great French master will also have a practical value , capturing the light and reflecting it on finished surfaces .

The show opens with the theme of the illusion of flesh and sensuality , around which develops the first section , in which they collected some early works , classical style , including the famous Homme au nez drum , rejected by the Paris Salon 1864 , a portrait tribute to the great genius of Michelangelo. At the top of this section will be the kiss, the scandalous sculpture of two lovers and caused a sensation in France in the late nineteenth century , the work that still wins the visitors of the Musée Rodin. The second section offers some of the most famous sculptures by Rodin and demonstrates the maturity of the teacher from the point of view of the processing capabilities of the figures that emerge from the snow-white stone blocks. Alongside portraits of great intensity , away from the cold precision of early career as a bust dedicated to the companion of a lifetime Rose Beuret , alternate references to eros and uninhibited search form and aesthetic of the master , showing his need for groped new paths sculptural . Here the beautiful Mains d' amant are a reminder of lyrical love and sensuality, but leave already fully understand the work of Rodin recovery of the tradition that leads along the affirmation of a new idea of ​​sculpture.

The poetics of the incomplete characterizes the third section where it represents the triumph of the "unfinished" , the linguistic artifact that leads immediately to Michelangelo and Rodin place in a Press stampachiave of absolute modernity , then widely adopted by his colleagues . Here are some ranked among the most beautiful portraits by the artist, including that of Victor Hugo and another , little-known , Puvis de Chavannes , the great " decorator of walls," one of the most popular artists of his era. Rodin had a special relationship with the marble and his contemporaries saw him as a ruler before whom the matter was shaking. His sculptures , far from conventional , give life and form to modernity, its animating the classic material par excellence, destined by nature to immobility. The exhibition makes use of a research carried out by the Musée Rodin, who has conducted extensive historical and critical analysis on the art workshop of the French genius and his methods of processing of the stone. For some years now the Musée Rodin has in fact engaged in restudy the production of marble by Rodin also come to define the individual contributors who worked on the marble blocks. The marbles have very mature Rodin stamped his style, that is not finished , which will become known throughout the world , but each piece has its own story , and through them you rebuild the sense of a studio that becomes "shop" .

This exhibition has allowed us to further investigate the materials used by the teacher, but above all to clarify the relationship between the sculptor and co-workers called to participate in the implementation phases of the work. Even in this case, therefore , Rodin is a forerunner of contemporary practice - while referring back to the customs of the ancient shops - to delegate to assistants carry out the work without sacrificing the original conceptual design . The exhibition, which sets out in chronological marble artist, is therefore a path aesthetics and sculptural practice of the French genius . What emerges is an entirely new sensibility than his time , where the subject seeks sensuality and nudity is exposed with an erotic charge highly innovative .


In conjunction with Rodin. The marble , the life, the National Gallery of Modern Art presents an exhibition of forty works including sculptures , reliefs and drawings titled D'après Rodin. Italian sculpture of the early twentieth century, the exhibition focuses on the spread and influence cross by French Italian sculpture in the early decades of the last century , from the resonance evoked by the presence of Rodin at the Venice Biennale of 1901 . The GNAM retains a copy of the work The Age of Bronze , Rodin made ​​his return from his first trip to Italy in 1875 , a clear homage to the classical sculpture was bought by the Italian state after the first show of the Roman secession in 1914 where he participated the Parisian artist .

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