En el espectacular escenario del Palazzo Fortuny en curso (hasta el 8 de mayo de 2011) una exposición dedicada a la famosa diseñadora y modista veneciana Giuliana Coen (1920) también conocido como Roberta di Camerino, que reinventó la moda de las mujeres desde los años 50.

Un ” total look” que los accesorios no sólo la ropa, pero también se replica con terciopelo, combinaciones de colores y formas en absoluto inusual y extravagante. Y a continuación, bufandas, paraguas, maletas y bolsas (el famoso “Bagonghi”, tan apreciado por la Princesa Grace de Mónaco).
La suya era una verdadera revolución de color que trajo un soplo de novedad y frescura en el mundo de la moda.
Él inventó la impresión en la tela “trompe-l’oeil” de los botones, cinturones, solapas y los pliegues.
Tras el gran éxito del Museo Revoltella de Trieste, la exposición aterrizó en la laguna de Venecia, donde el famoso Museo Fortuny es un lugar ideal en perfecta armonía de colores y estilos entre las pinturas de Mariano Fortuny y la recogida de Roberta.

Horario: todos los días 9:00 a 19:00.
25 de diciembre 2010 y 01 de enero 2011 cerrado.
Entrada: € 9.00 €, con descuento € 6.00.
Gratis para niños de 0 / 5 años
Información y reservas: info@fmcvenezia.it

In Venice the Peggy Guggenheim Collection presents an exhibition devoted entirely to the Vorticism, the British avant-garde group formed in London in 1914.

Initially influenced by French Cubism and Italian Futurism, this literary and artistic movement of sharp angles and bold lines, went out of its way to reject the ‘irrelevant’ romanticism of the nineteenth century, instead stressing qualities such as violence and energy together with the increasing importance of mechanical machines in the modern world.

The term Vorticism was coined by Ezra Pound and Blast was the groups’ manifesto. It was edited by Percy Wyndham Lewis and the first issue (of two) contained two aggressive articles by Lewis.
Although Vorticism was born in London, several members were American, including sculptor Jacob Epsteinand, photographer Alvin Langdon Coburn, as well as the important patron John Quinn.
The exhibition will feature about 100 works, comprising paintings, sculpture, works on paper, photography, and printed matter.

The Guggenheim Collection in Venice is open every day except Tuesday from 10 am to 6 pm.

Tras el éxito de la exposición dedicada a tres de las más famosas obras de Giorgione, Palazzo Grimani en Venecia es ahora con tres obras de El Bosco.

Bosch nació c. 1450 en ‘s-Hertogenbosch en el norte de Brabante y, por lo que sabemos, la mayoría pasó parte de su vida en esta ciudad de provincias aisladas. Sus pinturas extravagantes y fantásticas han perplejo e intrigado a sus espectadores durante siglos, pero en los primeros siglos se asumió ampliamente que sus escenas diabólicas eran sólo pretende divertir o excitar, en lugar como el “grotteschi” del italiano ornamento renacentista.

Su trabajo ha sido siempre muy popular, así como controvertido. Sus paisajes que representan los seres humanos, animales y criaturas fabulosas en varios estados de éxtasis y la miseria fueron en gran medida imitado por sus contemporáneos y sentó las bases para el movimiento surrealista de la 20 ª siglo.

Estas tres obras fueron parte de la colección del cardenal Domenico Grimani y al Cardenal la muerte que fueron donados a la Serenísima y entró en las colecciones del Palacio Ducal.

En “Tríptico de Bosch Ermitaño Santos (1510), Anthony Santos, Jerónimo y Giles parece que no, ya que objetos de devoción, sino como sujetos de devoción. Ni las presencias de culto, ni los actores dentro eventos significativos, que ofrecen, a través de su actitud hacia el interior de un modelo de piedad subjetiva.

En “Visiones de la vida futura” (1500-1503), Bosch sustituye a la medieval, el Paraíso y el Infierno, que eran imágenes objetivas de las jerarquías celestiales e infernales, con visiones subjetivas que se asemejan a las concepciones de los grandes místicos y sólo existen en el mundo interior del alma. En su ascenso en el paraíso celestial de las almas están dejando el espacio oscuro del universo y pasando a lo largo de un eje circular que ya está inundado de luz eterna. Embriagado con alegría, que están liberando más y más de las leyes de la gravedad y la obediencia a la atracción del reino de la luz.

El “Tríptico de Santa Liberata” (1505) ofrece serias dudas sobre la interpretación iconografíca . Puede representar la Liberata, Virgo Fortis, condenado a la cruz por su propia padre, el rey de Portugal.

INFORMACIÓN
Palazzo Grimani, Formosa, Santa María, Venecia
Del 19 de diciembre 2010 al 20 de marzo 2011
Horario: todos los días 09 a.m.-7 p.m.
Entrada: 9,00 euros
Reducida: 7,00 euros

We’re very sorry for the quality of this post: not everything in the Spanish version of our site is still Human-Translated. This post has been machine translated for the time being. Please, bear with it. Thanks.

This exhibition held in Palazzo Zabarella in Padua, just a short train ride (30 min. only) from Venice, is the first to be dedicated to the extraordinary vicissitudes of the portrait, a painting genre that was traditionally considered to be minor but which, during the Nineteenth Century, was able to interpret the multiple aspects of that century with greater intensity than the more important genres such as historical and religious painting. It thus became the mirror of a history and humanity undergoing profound changes.
Canova and Modigliani, two internationally renowned protagonists but with absolutely different personalities, open and close this passionate tale in paintings in which both great names in history and the anonymous extras of a domestic epic appear. Painted and sculptured, of individuals and groups, with or without a setting, celebrative or introspective, these portraits all evoke the changes and restlessness of a society undergoing rapid transformation, interpreting the expectations of a country that was achieving political unity for the very first time. However, above all they also represent decisive changes in style, the artists’ efforts to become more modern, to testify reality in its incessant transformation from a new perspective.

From October 2nd, 2010 till February 27th, 2011
Palazzo Zabarella, via san Francesco, 27 - Padova
tel. 049 8753100
fax  049 8752959
info@palazzozabarella.it 

The Poetics of Written Space – Handwriting and calligraphy
Venice, Museo Correr
from october 2, 2010 to october 31, 2010

Museo Correr and the Fondazione Musei Civici Veneziani propose an educational itinerary through handwriting which is the synthesis of both traditional and contemporary visual communication.

The exhibition, presented by Monica Dengo, includes handwritten documents from the Museum Correr Library, in particular materials documenting the private and daily use of handwriting over the centuries, along with contemporary artworks of art that have in common the practice of writing by hand as image, bundle of written marks capable of communicating per se.

The show is organized in four parts:

- Historical: manuals, letters and private documents with handwritings from the 1500′s to the 1900′s from the Correr Museum;

- Contemporary: artworks on paper and artist’s books by contemporary artists working with Western, Islamic and Eastern calligraphy. Artists: Kitty Sabatier (France), Benno Aumann (Italy-Germany), Satsuki Hatsushima (England-Japan), Adriana Seri (Italy), Xin Ye (France-China). Hassan Massoudy (France-Iraq), Torsten Kolle (Germany), Mari Bohley (Germany), Cinzia Ruggieri (Italy), Birgit Nass (Germany), Ewan Clayton (England), Brody Neuenshwander (Belgium-USA), Carlo Buffa (Italy), Monica Dengo (Italy-USA), Akar Abdallah (France-Tunisia), Laurent Rebena (France), Michaela Keller (Switzerland), Norio Nagayama (Italy-Japan), Dominique Pinchi (France-Italy);

- Installation by Monica Dengo: I invite you to make the text your own.
Text to touch, smell, listen and feel.

- Workshop: The works of students participating in the calligraphy workshop, held by Monica Dengo, will be exhibited in the show.

THE WORKS ON DISPLAY

Historical section

Luca Pacioli, Divina proportione …, [Venezia, Paganino e Alessandro Paganini, 1509]
Venice, the Correr Museum Library

Sallustio Piobbici, L’arte compendiata del bene, et leggiadramente scrivere …, [Venezia, Francesco Bodio, 1664]
Venice, the Correr Museum Library

Giovanni Battista Palatino
Libro di m. Giovambattista Palatino cittadino romano, nel qual s’insegna a scriver ogni sorte lettera, antica, et moderna, …, [Roma, Antonio Blado, 1553]
Venice, the Correr Museum Library

Sigismondo Fanti
Theorica et pratica perspicacissimi Sigismundi De Fantis ferrariensis in artem mathematice professoris de modo scribendi fabricandique que omnes litterarum species, [Venezia, Giovanni Rosso, 1514]
Venice, the Correr Museum Library

Giovanni Battista Verini
Elementorum litterarum, [Toscolano, Alessandro Paganino, 1527]
Venice, the Correr Museum Library

Giovanni Antonio Tagliente
Lo presente libro insegna la vera arte delo excellente scrivere, …, [Venezia, Francesco Rampazetto, 1560]
Venice, the Correr Museum Library

Raccolta di Lettere, sec XVII ex.
Venice, the Correr Museum Library

Violet Fenton Rava’
Quaderno, autografo dell’A., 1897
Venezia, Museo Correr, Archivio Ravà Fenton, Serie 4, Quaderni, taccuini e appunti di Violet Fenton

Violet Fenton Rava’
Ricettario, autografo dell’A., s.d.
Venice, Museo Correr, Archivio Ravà Fenton, Serie 4, Quaderni, taccuini e appunti di Violet Fenton,

Violet Fenton Rava’
Copialettere, autografo dell’A., 1940
Venice, Museo Correr, Archivio Ravà Fenton, Serie 4, Quaderni, taccuini e appunti di Violet Fenton, fasc. 2, n. 1

Gabriele D’Annunzio
La nave, autografo dell’A., 1908
mm 260×220
Venice, the Correr Museum Library

Contemporary section

Birgit Nass
Words from books, 2010
mixed technique, acriyl colours, collage on canvas, gouache
cm 15×15; 20×20; 50×30

Birgit Nass
The past – The future – Here and Now, 2010
handwritten pages bound in a hardcover book in a wooden box
cm 40x9x10

Birgit Nass
Words from Stones, 2010
handwritten pages bound in a hardcover book and writing on a stone
cm 42,5x16x4

Satsuki Hatsushima
Letter from Gingaso (a life at the japanese traditional house in the village of the mountain), 2009
bookbinding, watercolour
cm 97×62

Torsten Kolle
Mnemosyne (Part I), Book 1, 2010
chinese ink, graphite, collage, copper, Hahnemüleh-paper
cm 40×27,7

Torsten Kolle
Mnemosyne (Part II), Book 2, 2010
chinese ink, graphite, collage, copper, Hahnemüleh-paper
cm 40×27,7

Torsten Kolle
Mnemosyne (Part III), 2010
gouache, Graphite, Hahnemüleh-Paper
cm 108×78

Brody Neuenschwander
Trying to tell you, 2008
collage of rice paper and old documents on canvas, with whitewash and chinese ink
4 canvases
cm 60×60

Brody Neuenschwander
Which emotions do I accept, 2008
collage of rice paper on Rives BFK paper with whitewash, gouache and chinese ink cm 105×75

Brody Neuenschwander
East/West Dictionary, 2008
collage of rice paper and old dictionary pages on Rives BFK
paper, with whitewash, gouache and Chinese ink
cm 105×75

Brody Neuenschwander
The Prophet raves, 2010
collage of rice paper on Rives BFK paper with whitewash, gouache and chinese ink
cm 105×75

Dominique Pinchi
Chrysos – Tomo, 2006
mixed technique: lava, cardboard
cm 31x25x5; cm 31x17x8

Dominique Pinchi
Paroles labyrinthe, 2006
mixed technique: lava, pigments, cardboard
cm 47×53

Dominique Pinchi
Poeme de paroles, 2006
mixed technique: lava, pigments, graphite, cardboard
cm 52,5×46

Dominique Pinchi
D’avant le temps, 2006
mixed technique: lava, pigments, cardbord
cm 38,5×48

Mari Emily Bohley
The Old, 2010
book object with driftwood, coptic binding, mixed techniques on handmade paper
cm 31x13x10

Mari Emily Bohley
The New, 2010
book object with driftwood, concertina structure, mixed techniques on 28 canvases
cm 16×12,5×10

Laurent Rébéna
Traces et rythmes , 2010
Ink on paper
cm 15×46

Laurent Rébéna
Traits 11 – Traits 3
Traits 8 – Traits 5
Traits 4 – Traits 10, 2009
acrilyc on canvas
cm 50×50

Kitty Sabatier
Sans titre, 2010
pigments and acrylics on paper reinforced with fabric
cm 50×127

Kitty Sabatier
Sans titre, 2010
pigments and acrylics on paper reinforced with fabric
cm 50×127

Kitty Sabatier
Sans titre, 2010
pigments and acrylics on paper reinforced with fabric
cm 50×127

Abdallah Akar
D’un ciel à un autre, 2010
mixed technique on canvas
cm 100×65

Abdallah Akar
Helene, quelle pluie…, 2010
mixed technique on canvas
cm 117×74

Abdallah Akar
Le Chant des chants, 2006
mixed technique on paper
cm 150×130

Hassan Massoudy
Le bonheur, 2009
ink and pigments on paper
cm 75×55

Hassan Massoudy
La vie, 2002
ink and pigments on paper
cm 75×55

Hassan Massoudy
Le rềve, 2007
ink and pigments on paper
cm 75×55

Hassan Massoudy
Ibn Arabi, 2010
ink and pigments on paper
cm 37,5×27,5

Adriana Seri
Madre, 2006
chinese ink on
paper, Han character, cursive form Zhuan
cm 133,5×32,5

Adriana Seri
Sutra del cuore, 2008
chinese ink on paper, Han character
cm 135,5×33

Carlo Buffa
Sutra del cuore 1, 2008
ink on paper, glue, Tenshō writing
cm 70×136

Carlo Buffa
Sutra del cuore 2, 2008
ink on paper, Tenshōwriting
cm 70×136

Carlo Buffa
Collage, Frammenti di Tenshō, 2009
ink on paper, glue
cm 55×38

Carlo Buffa
Poesia Tang in Tenshō, 2008
ink on paper
cm 138×35

Norio Nagayama
Sensuale, 2009
ink and gold on paper
cm 80×120

Norio Nagayama
Uomo, 2007
ink on paper
cm 130×132

Cinzia Ruggieri
Alla stessa ora della stessa sera, 2010
pencil
cm 29 x 21

Michaela Keller
Traces, 2007
handmade paper watercolor, gouache
cm 26×33,5

Benno Aumann
Sketch1. The shadows of the ships, 2010
ruling pen, sumi and gouache on paper
cm 56,5×75,5

Benno Aumann
Sketch2. A long brown bar, 2010
ruling pen, sumi and gouache on paper
cm 56,5×75,5

Benno Aumann
Sketch3. Wavelets crumble, 2010
ruling pen, sumi and gouache on paper
cm 56,5×75,5

Benno Aumann
Lost, 2008-2010
ruling pen, sumi on paper, silhouette

Ewan Clayton
Boundaries, a garden in Kyoto, 2010
Text from Boundaries in The art of setting stones by Marc Peter Keane
sumi ink, metal pen on Zerkall paper, bound in handmade paper from Auronville, India
cm 27,5×62

Ewan Clayton
Yo Canto. A flood of tears for Ignacio Sanchez, 2007
A poem by Garcia Lorca
sumi ink, goose quill and the fingers and palms of both hands
cm 76×56

Ewan Clayton
Separation is also association, 2006
Text from Closing the Circle in The art of setting stones by Marc Peter Keane
royal Watercolour Society paper, antique pine soot, Japanese stick ink
cm 77×51

Ye Xin
Baudelaire, 1997
ink on paper
cm 42×28

Installation by Monica Dengo

Monica Dengo
I invite you to make the text your own, 2010
10 open pages, each one 66×97 cm; 1 / book in loose sheets 50×66 cm; 1 /photo in collaboration with the photographer Marco Ambrosi
paper, graphite, ink, photography
cm 70×100

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