Samstag, 26.11.2022 21:32 Uhr

A major exhibition dedicated to Van Gogh in Rome

Verantwortlicher Autor: Carlo Marino Rome, 23.11.2022, 14:25 Uhr
Nachricht/Bericht: +++ Kunst, Kultur und Musik +++ Bericht 1988x gelesen

Rome [ENA] The sumptuous Bonaparte Palace, once the residence of Maria Letizia Ramolino Bonaparte, Napoleon's mother, is hosting a major exhibition dedicated to one of the world's most celebrated artists. On the eve of the 170th anniversary, from 8 October 2022 in Palazzo Bonaparte in Rome is taking place the largest and most anticipated exhibition of the year dedicated to the genius of Van Gogh. Through his most famous works

- Women carrying sacks of coal in the snow

- including his very famous Self-portrait (1887) - the story of the most famous artist in the world will be told. Born in Holland on March 30, 1853, Vincent Van Gogh was an artist with a whimsical sensitivity and a tormented life. It’s famous his life between real and madness in a relationship of conscious and unconscious, the long stays in the psychiatric hospital of Saint Paul in Provence, the episode of the severed ear, as well as the epilogue of his life, which ended on July 29, 1890, at the age of thirty-seven,with a suicide: a gunshot to the chest in the Auvers fields. The exhibition of Van Gogh in Rome is based essentially on the loans of the Kröller-Müller Museum, the life work of Helene Kröller-Müller.

Together with her husband Anton Kröller, she acquired nearly 11,500 works of art between 1907 and 1939: it is one of the largest private collections of the twentieth century. The exhibition of Rome reconstructs the human and artistic story of the great Dutch master who, despite an existence marked by madness and tragedy, was able to paint masterpieces that are distinguished by a unique style, capable of giving strong emotions to admirers of every generation. Van Gogh artistic activity took place in the brief span of years between 1881 and 1890. Dominated initially by drawing enlivened with strokes of colour, it was soon to be enriched with the use of oil employed in dark tones capable of creating a surprisingly rich climate beyond any

any literal meaning, for what may be termed a spiritualised realism. He had an overriding love for the land and for the activity of human beings engaged in hard work always illuminated by a spiritual attitude and a religiosity that sacralized the humility of daily toil. Vincent looked with interest at the works of the French Barbizon painters, taking particular inspiration from Jean-François Millet and Charles François Dubigny. What is so striking and effective is his realism not without rawness, enlightened by his love for the poor figures in a world of peasants, weavers, woodsmen, and women toiling in the fields and in their housework. One breathes a climate that has remained intact, uncorroded by any type of social or worldly evolution

bound to a sense of duty that has the strength of making toil epic, noble, and necessary. Van Gogh felt he belonged to a world that lived in sod huts, that devoutly prayed, with the awareness of living the totality of an experience always worth being lived. We follow him as he moves from Etten to The Hague, Drenthe, and Nuenen, always searching for live witness to a world that for him has an absolute value made incarnate in his figures. In late February 1886, Van Gogh decided to relocate to Paris, sensing the need to take on a world about which, albeit indirectly, significant news was arriving. He found himself at the eighth and final Impressionist exhibition, dominated by the young figures of Seurat, Signac, and Gauguin.

He penetrated intensely into the new debate, in which the Impressionist experience mutated into a language with scientific assumptions,based upon the juxtaposition of pure colours and upon synthetic drawing. This new way of understanding nature denoted adherence to an Impressionist and freely Neo-Impressionist language, with the palette welcoming the brightness of colour. Thus won over, the painter identified a host of possibilities for expression something that can also be seen in the fine still lifes dominated by rich juxtapositions of colour, especially when the artist was painting flowers deploying a rare ostentation. During his brief stay in Paris, Vincent absorbed the city's lively artistic climate, forging bonds with artists

like Émile Bernard, Toulouse-Lautrec, and Loius Anquetin. He defined himself and his friends as the artists of the Petit Boulevard, while reserving the appellation of artists of the Grand Boulevard for the major figures of Impressionism like Monet, Degas, Renoir, Sisley, and Pissarro. For him, Gauguin, whom he met immediately upon the latter's return from Martinique, embodied an ideal image of a vagabond, of a world traveller alien to any precise destination.

On 18 August 1888 in a letter to his brother Theo, Van Gogh wrote: "It's just that I find that what I learned in Paris is fading, and that I'm returning to my ideas that came to me in the country before I knew the Impressionists. [...] Because instead of trying to render exactly what I have before my eyes, I use colour more arbitrarily in order to express myself forcefully" . In the blinding southern light, colours took on another dimension. The lesson of Paris was no longer determinant. Vincent resumed dreaming of the symphonies of colours that could be associated with musical tones. All drawn spatiality was eliminated and shapes were placed into the softness of coming together and flowing with no rigour but with great gentleness.

Space was created by colour and one senses a new freedom. Since his arrival, the painter exploited the suggestions of that land, seeking to renew himself and to pour a dynamic climate of youth into his paintings. He compared his stay in Provence to Delacroix's in North Africa, when the latter, too, was in pursuit of light and colour. He recalled how Monet and Signac visited the regions of the Mediterranean, and how Cezanne had established his final residence in Aix-en-Provence.

The geography of associations extended all the way to Japan, a place immersed in the golden age, the age of innocence . In describing the countryside, he wished to express sensations of cheerfulness and joy, with the profound hope of making paintings that were always full of light. Although Van Gogh descended into the abyss, he was capable of rising from it suddenly and with vehemence. His study of colour was always associated with its interiorization, with a transformation of the technical datum into other meanings. This took the painter increasingly farther from Impressionism, which was connected to the prevalence of the optic experience, while his passion for Delacroix, Millet and Corot remained.

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