During my three months at the BSR I carried out research for a major article on the role of monumental fountains within the architectural schemes built on the periphery of Rome during the fascist ...ventennio. My work focused on the most ambitious of these schemes: the Foro Mussolini sports complex located to the northwest of Rome's historic centre, on which work began in 1928; and the EUR district on the city's southwestern periphery, planned for the unrealized Universal Exhibition of 1942. My research has examined the fountains incorporated into these architectural schemes as key emblems of this regenerative nationalism. I have focused on two main examples: the Fontana della sfera (1933–4), designed by the architects Mario Paniconi and Giulio Pediconi.
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In the second half of the nineteenth and early twentieth centuries, when the Commedia dell’Arte had exhausted its cycle from a theatrical point of view, masks such as Pulcinella, Arlecchino and ...Pierrot, together with street performers, clowns and acrobats, began to lose their specificity for the wider identity of the so-called “entertainer”. Painting will represent this shift in multiple ways, with differentiated and often contradictory messages. Such versatility will also be the main feature of entertainers represented from 1915 onwards, when some aspects of the Commedia dell’Arte will be rediscovered and reinterpreted in a modern way, leading to a kind of “revival” of Pulcinella’s mask. In painting, the main feature of his representation will be a certain split between its purest essence and its interpretation, which will bring artists to enjoy wider freedom, oscillating with ease between processes of humanization, dehumanization, iconographic contamination, archetypalization and distortion. In this context, Pablo Picasso and Gino Severini are two key figures. In different ways, both used the mask as a pretext for experimenting with new formal solutions, and for both the mask was linked to the “Italian”, in the folk sense for Picasso and, in the case of Severini, as an existential key to the rediscovery of the artist’s roots.
The modern decoration of the Saint Nicolas de Myre Church at Semsales (1924–1926), is the first by renowned Italian artist Gino Severini in Switzerland. Following archival research and visual ...examination, the materials and the techniques used by Severini for the wall paintings of this church were examined through a multi-technique analytical approach that included both non-invasive and invasive investigations. Archival research revealed lists of some of the materials purchased for the church and notes of the artists. In situ investigations included imaging methods and point analyses (X-ray fluorescence and reflection FT-IR spectroscopy). Based on non-invasive results, a limited number of representative samples were collected for laboratory invasive analyses (SEM-EDS, FTIR-FPA imaging, μ-Raman and GC-MS) to characterize the stratigraphy and the composition of the paintings. Results were coherent with artist’s notes and revealed protein-based binders, i.e. animal glue and casein, exclusively on the Trinity mural (in the apse) confirming the use of a secco technique. All the other wall paintings analyzed at Semsales are painted without the use of organic binders. These findings, integrated with archival researches and the visual examination by conservators, provided significant insights into the materials and techniques used by Gino Severini in his first Swiss murals.
Paris: an artistic epicentre Spalding, Frances
The Lancet (British edition),
03/2002, Volume:
359, Issue:
9310
Journal Article
Peer reviewed
The city was also famous for its liberal tradition and for the safety it offered those fleeing religious or political persecution. The museums and free academies in Paris added to it attraction. In ...turn, the cultural richness of Paris owed much to its cosmopolitanism. Recognition of this diversity is apparent in the first room of this exhibition. Here it is not so much Pablo Picasso's exercises in Toulouse-Lautrec's style, nor even Matisse's famous Carmelina, that dominate the room, but Kees van Dongen's superb portrait of Picasso's mistress, Fernande Olivier, and his equally striking portrait of the art dealer, Daniel-Henry Kahnweiler. This is painting at its most vibrant. The absence of any work by the great primitive, the "Douanier" Rousseau, is an important omission. The admiration he aroused in Picasso and others fed the search for an innocent vision. The Cubists found all sorts of ways to refresh the act of looking and break away from tired methods of representation. Their paintings became sites where words and images meet, drawn and painted marks jostle with scraps of papier-colle. The arts were no longer exclusive. Gino Severini incorporated signs from the Metro in The Nord-Sud (Speed And Sound), while Erik Satie, in his music, borrowed rhythms and harmonies from popular music. Suddenly the division between mass culture and fine art became blurred.
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Provider: EFG - The European Film Gateway EFG - The European Film Gateway - Institution: EFG - The European Film Gateway Istituto Luce - Cinecittà - Data provided by Europeana Collections- All ...metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: EFG - The European Film Gateway EFG - The European Film Gateway - Institution: Istituto Luce - Cinecittà EFG - The European Film Gateway - Data provided by Europeana Collections- 3 - the ...tailor Venturi, adjusts a dress worn by a model- 5 - Italian journalists at Cafè de Flore interview well-known characters- Gentlemen while modeling a sculpture- Severini while he paints- Sepo while he paints- Piovene goes to UNESCO- Campigli while he makes a portrait of his son- Barbisan of the Chamber of Commerce- 6 - the cyclist Frosio- 4 - Italian ice cream maker- 1 - study of the sculptor Lords in Montparnasse- 2 - the wife of Campigli and Campigli struggling with a sculpture- 1 - studio dello scultore Signori a Montparnasse- Signori mentre modella una scultura- Campigli mentre fa un ritratto al figlio- 2 - la moglie di Campigli e Campigli alle prese con una scultura- Severini mentre dipinge- Sepo mentre dipinge- 3 - il sarto Venturi, aggiusta un vestito indossato da una modella- 4 - gelataio italiano- 5 - giornalisti italiana al cafè de Flore intervistano personaggi noti- Piovene si reca all'Unesco- Barbisan della Camera di Commercio- 6 - il ciclista Frosio- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: EFG - The European Film Gateway EFG - The European Film Gateway - Institution: Istituto Luce - Cinecittà EFG - The European Film Gateway - Data provided by Europeana Collections- All ...metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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