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Massimo Cacciari, 'Thauma istante' at Cinema Fulgor
Massimo Cacciari 'Thama istante' at Cinema Fulgor
Massimo Cacciari, 'Thauma istante' at Cinema Fulgor
22 may 2015 Massimo Cacciari's conference at Cinema Fulgor
Viale Stazione 5
Capolona (Italy)
21.15 pm
https://www.facebook.com/FulgorArt?ref=hl
National Gallery of Art :: Exhibitions :: 2015 :: Power and Pathos: Bronze Sculp
National Gallery of Art :: Exhibitions :: 2015 :: Power and Pathos: Bronze Sculpture of the Hellenistic World
Power and Pathos: Bronze Sculpture of the Hellenistic World
December 13, 2015 – March 20, 2016
TBD
Overview: Some 50 bronze sculptures and related works survey the development of Hellenistic art as it spread from Greece throughout the Mediterranean between the fourth and first centuries BC. Through the medium of bronze, artists were able to capture the dynamic realism, expression, and detail that characterized the new artistic goals of the period. This exhibition will feature works from world-renowned archaeological museums in Austria, Croatia, Denmark, France, Georgia, Great Britain, Greece, Italy, Spain, and the United States. The exhibition presents a unique opportunity to witness the importance of bronze in the ancient world, when it became the preferred medium for portrait sculpture.
Organized by Fondazione Palazzo Strozzi, J. Paul Getty Museum, Los Angeles, and National Gallery of Art, Washington, with the collaboration of Soprintendenza per i Beni Archeologici della Toscana.
Bank of America is proud to be the global sponsor. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Other Venues: Palazzo Strozzi, Florence, March 14–June 21, 2015 The J. Paul Getty Museum, Los Angeles, July 28–November 1, 2015
Image: Unknown Artist (Hellenestic Bronze), Wilson Poseidon (or Asklepios), 227-221 BC, bronze, The Museum of Fine Arts, Houston. Museum purchase funded by Isabel B. and Wallace S. Wilson
http://www.nga.gov/content/ngaweb/exhibitions/2015/power-and-pathos.html
Power and Pathos: Hellenistic Bronzes at the Palazzo Strozzi
Power and Pathos: Hellenistic Bronzes at the Palazzo Strozzi
(Left) Statuette of the Weary Herakles third century BCE or first century CE; copy of a fourth-century BCE bronze by Lysippos. (Right) Male Portrait Head 50–25
BCE.
(Courtesy Palazzo Strozzi)
The florescence of the arts in the wake of Alexander the Great’s conquest of a vast swath of territory from Greece to the Indus Valley is the subject of “Power and Pathos: Bronze Sculpture of the Hellenistic World,” which opens at the Palazzo Strozzi on March 14.
On view are some 45 bronzes dating from the 4th to 1st centuries B.C. and later Roman works inspired by them, which attest a cosmopolitan blend of Eastern and Western artistic traditions.
Among the highlights are several pairings of works, including an early 1st-century bronze Apoxyomenos from Ephesos, in the collection of the Kunsthistorisches Museum in Vienna, and its later twin, sculpted in marble, from the Uffizi Gallery in Florence; two herms of Dionysos, one from Tunis and signed by the 2nd-century B.C. sculptor Boethus of Chalcedon, the other from the J. Paul Getty Museum in Malibu; and two archaic-style Apollo-Kouroi in the collections of the Louvre and the Soprintendenza per I Beni Archeologici di Pompei, respectively.
“Although all of these pairs have been shown together frequently in art history books, this is the very first time that any of them have been displayed side by side,” says James M. Bradburne, director of the Strozzi Palace Foundation. Bronze works from antiquity are quite rare, he adds, because so many were melted down over the centuries in order to mint coins and manufacture arms.
Most of those that have survived have come from shipwrecks, including one discovered off the coast of Mahdia, Tunisia, in 1907, and another found in the Adriatic near Brindisi in 1992. Following the Florence exhibition’s June 21 close, it will travel to the J. Paul Getty Museum in Los Angeles (July 28–November 1) and then to the National Gallery of Art in Washington, D.C. (December 6–March 13, 2016).
A verison of this article appears in the March 2015 issue of Art+Auction.
