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From Caravaggio to the ruins, the torments of Guido Reni in Rome

2022-02-28T13:54:25.428Z


The Rome of the great commissions linked to the Jubilee of 1600, the overwhelming impact with archeology, the confrontation with Caravaggio and the difficult relationships with the other greats of his time, the urgency to find a new and truly his language, for the p ... (ANSA)


(ANSA) - ROME, FEBRUARY 28 - The Rome of the great clients linked to the Jubilee of 1600, the overwhelming impact with archeology, the confrontation with Caravaggio and the difficult relationships with the other greats of his time, the urgency to find a new language and truly his, for his religious painting, but also for the landscape scenes that the wealthy clients liked so much.

Cultured, refined, perfectionist, the great GuidoReni, despite how history has always told him, was also a restless and tormented man, a not less complex personality and in some traits no less shady than that declared accursed of the contemporary Michelangiolo Merisi.


    "A painter who we have always considered an extraordinary interpreter of religious painting, with profound classical references, but who was also an extraordinary experimenter", explains passionately the director of the Borghese Gallery Francesca Cappelletti, presenting the small and great exhibition that more than thirty years after the last great Italian exhibition will kick off from 1 March the first of a series of international initiatives dedicated to the Italian Master of the seventeenth century.

Entitled 'Guido Reni in Rome.

Il Sacro e laNatura ', curated by Cappelletti (with the collaboration of a team of scholars including Raffaella Morselli and Maria Cristina Terzaghi), the exhibition revolves around the "homecoming" of DanzaCampestre, a canvas from the Borghese collection, dispersed in the 19th century,

that the prestigious Roman museum has managed to buy back.

It is precisely this oil that tells of an outdoor dance party under a sky of a thousand shades of blue, it proved to be a fundamental piece for reconstructing the artist's early Roman years, conflicts, experiments, the development of his own personal and very particular language. .

"Not a training course because Reni arrives in Rome on the wave of an already brilliant career", explains Cappelletti.

"He was a painter who already knew too much and who remains a block of great success in the city."

Rather, then, the story of what the master took from his Roman experience and the mark he left behind.

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).

It is precisely this oil that tells of an outdoor dance party under a sky of a thousand shades of blue, it proved to be a fundamental piece for reconstructing the artist's early Roman years, conflicts, experiments, the development of his own personal and very particular language. .

"Not a training course because Reni arrives in Rome on the wave of an already brilliant career", explains Cappelletti.

"He was a painter who already knew too much and who remains a block of great success in the city."

Rather, then, the story of what the master took from his Roman experience and the mark he left behind.

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).

It is precisely this oil that tells of an outdoor dance party under a sky of a thousand shades of blue, it proved to be a fundamental piece for reconstructing the artist's early Roman years, conflicts, experiments, the development of his own personal and very particular language. .

"Not a training course because Reni arrives in Rome on the wave of an already brilliant career", explains Cappelletti.

"He was a painter who already knew too much and who remains a block of great success in the city."

Rather, then, the story of what the master took from his Roman experience and the mark he left behind.

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).

it proved to be a fundamental piece for reconstructing the artist's early Roman years, conflicts, experiments, the development of his personal and very particular language.

"Not a training course because Reni arrives in Rome on the wave of an already brilliant career", explains Cappelletti.

"He was a painter who already knew too much and who remains a block of great success in the city."

Rather, then, the story of what the master took from his Roman experience and the mark he left behind.

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).

it proved to be a fundamental piece for reconstructing the artist's early Roman years, conflicts, experiments, the development of his personal and very particular language.

"Not a training course because Reni arrives in Rome on the wave of an already brilliant career", explains Cappelletti.

"He was a painter who already knew too much and who remains a block of great success in the city."

Rather, then, the story of what the master took from his Roman experience and the mark he left behind.

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).

And also an invitation to rediscover it with an itinerary of Roman places that will accompany the catalog.

(HANDLE).


Source: ansa

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