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Annalisa Durante and Marina Durante - The works

Annalisa Durante and Marina Durante - The works


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ART AND ENVIRONMENT

Annalisa Durante and Marina Durante, the works

ANNALISA DURING


Cincie


Opium poppy


Wisteria


Diving ducks


It hatches

MARINA DURING


Zebras


Linden


Elephants


Howl


Marmots


Sea lion


Fox

LOOK AT THE CURRICULUM OF ANNALISA DURANTE AND MARINA DURANTE

If you are an artist and you wish to publish your works on this site, write to the address [email protected]


Marina Abramović: story and phrases of the woman who revolutionized performance art

There performance art? It is a synonym of Marina Abramović, one of the most eclectic and discussed women of the contemporary artistic scenario. He puts her and much more into his works. It puts a violent and unconditional fury, a naked soul and the dark sides of an unconscious self, it almost always puts into it the relations with the public and the dichotomy of body and mind.

Modestly self-described as “Grandmother of performance art ", Abramovic has intended since the beginning of her career to emphasize the revolutionary capacity of her way of expressing artistic performance.

In fact, Marina Abramović's work is typical of the new generation's goal of wanting to avoid traditional artistic materials based on objects (such as painting and canvas) and to rather shorten the distance between the artist and the public, making one's body a medium. Born under the repressive Communist dictatorship of Yugoslavia and raised with parents closely linked to the regime, Abramović's dramatic performances often seem like cathartic responses to these extreme expressions of power.

She has produced a large amount of sculptures, but is even more famous for her performances and remains one of the few artists of her generation who continues to perform. Today, the list drawn up by the magazine Time ranking among the hundred most influential people in the world.


The killers wanted to hit Salvatore Giuliano, said 'or Russian (red, due to the color of his hair), at the time of the nineteen year old, a nephew of the Giuliano brothers considered close to the boss Ciro Giuliano 'or baron, cousin of the Giuliano brothers, later killed in an ambush in 2007. [2]

Following Annalisa's death, her parents authorized the removal of the organs. In Annalisa's diary there are many considerations on the deterioration of her neighborhood: "The streets scare me. They are full of muggings and robberies. Neighborhoods like ours are at risk"or simply"I would like to escape, I'm afraid in Naples"The book was published to help build a chapel in memory of the girl.

Salvatore Giuliano, recognized with a final sentence as an exponent of the homonymous clan and as the target of the ambush of March 27, 2004 in the Neapolitan district of Forcella. Giuliano, responding to the fire of the assassins, hits Annalisa Durante, who will die shortly after hospitalization.

On March 31, 2006, the twenty-one year old Salvatore Giuliano was sentenced by the fourth section of the Assize Court of the court of Naples to 24 years in prison for the murder of Annalisa. Although the sentence was reduced on appeal to 18 years, with the sentence of April 16, 2008 the Supreme Court definitively sentenced Salvatore Giuliano to 20 years of imprisonment.

The news of Annalisa Durante's death caused a great impression in Naples and throughout Italy, and her story is told in Gomorrah by Roberto Saviano and in the book Social cancer: the Camorra of Don Luigi Merola (who at the time of the events was the parish priest of Forcella).

The trial of Salvatore Giuliano for the murder of the young woman was also broadcast on television, as part of the famous Rai 3 program One day in the district court conducted by Roberta Petrelluzzi.

The nursery school in Via Vicaria Vecchia and a library have been named after her.


Index

Graduated in literature from the University of Rome with a thesis on Pietro Bernini, he worked as Inspector at the Superintendence of Medieval and Modern Art of Ancona from 1933 to 1938, the year in which he was entrusted with the direction of the National Gallery of Ancient Art in Rome. .

In 1939, appointed Superintendent of the Galleries and Works of Art of the Marche, he was commissioned by the Minister of National Education Giuseppe Bottai on the idea of ​​the official Giulio Carlo Argan - a friend of Rotondi - to identify, transport and keep in a safe place a conspicuous number of works of art to protect them from the risks of the impending war. This rescue operation, conducted in the utmost secrecy and adventurously coordinated by Rotondi during the entire conflict, allowed to safeguard from destruction and raids what he himself defined as "the most important grouping of works of art ever made in the world" .

At the end of the conflict he remained for a few years in Urbino, continuing to carry out his work as Superintendent and teaching History of Art at the local University. From 1949 to 1961 he was Superintendent of Genoa, contributing to the reconstruction of the city after the war. In this period he published a book on the Ducal Palace of Urbino and one on the History of Italian Art, continuing to teach History of Art at the Vittorino da Feltre high school and at the University of Genoa.

Appointed director of the Central Institute of Restoration in Rome in 1961, he became one of the promoters of the rescue of works of art damaged by the Florence flood in 1966. After retiring in 1973, he was appointed by the City of the Vatican "technical consultant for the restoration of the Papal Galleries and Museums", and it is while he was personally following the restoration of Michelangelo's frescoes in the Sistine Chapel that he died in an accident in 1991, at the age of 81, hit in the center of Rome by a large displacement motorcycle.

Rotondi initially discarded Urbino as the seat of a large aeronautical depot, thus dropping the hypothesis of declaring Urbino an "open city". He later identified the Rocca di Sassocorvaro in Montefeltro, the Palazzo dei Principi di Carpegna and the basement of the Cathedral and the Ducal Palace of Urbino as suitable places for custody. As the news spread among the insiders, the works to be hidden began to arrive from the museums and churches of Venice, Urbino, Pesaro, Fano, Ancona, Lagosta, Fabriano, Jesi, Osimo, Macerata, Fermo, Ascoli Piceno. In the following years 7,821 works of art were hidden, including masterpieces by Giorgione, Giovanni Bellini, Piero della Francesca, Paolo Uccello, Tiziano, Carlo Crivelli, Carpaccio, Mantegna and Raphael.

The story remained in the shadows for forty years, until it was brought to light in 1984 thanks to the initiative of the mayor of Sassocorvaro Oriano Giacomi. In 1986 he was awarded the honorary citizenship of Urbino. In 1997, in memory of his "impossible mission", the "Premio Rotondi" was established in Sassocorvaro as part of the "Arca dell'Arte" project, conceived by the journalist and writer Salvatore Giannella, and recognized by law no. 111/2009, which is attributed every year to those who, even at an international level, have distinguished themselves for "exemplary actions to save the artistic heritage" [2]. On 10 November 2005, the President of the Republic Carlo Azeglio Ciampi awarded the historian's daughters a gold medal in memory of their father [3].

A book was taken from the diary drawn up by Rotondi during the operation (The Ark of Art by Salvatore Giannella and Pier Damiano Mandelli) and a film entitled Pasquale Rotondi's list (which recalls the film in its name Schindler's List - Schindler's List, the well-known savior of many Jews from Nazi extermination) produced by Rai Educational and the Montefeltro mountain community and broadcast on Rai 3 in the series We are history [4]. An extensive chapter about Rotondi and the other unknown heroes who saved art during wars is in Rescue operation, by Salvatore Giannella (Chiarelettere, 2014).


Damien Hirst: Treasure From The Wreck Of The Unbelievable

Treasure From The Wreck Of The Unbelievable , the Hirst exhibition that caused chaos and controversy around the world, has become something of a documentary. This film was financed by the artist himself and was made with a university research group (invented). But what is the plot?

This is the story of the discovery and creation of the famous exhibition that was set up during the Venice Biennale between Palazzo Grassi and Punta della Dogana. According to this docu-film, because it is not true, the exhibition was commissioned by Hirst and the collector Francois Pinault to celebrate the extraordinary discovery of a submarine that was found near the African coasts. The story of this story has a serious tone of voice, in full official documentary style, but Hirst has sown clues that direct the viewer to catch the joke. According to the production, the film is a mix of experts and actors, but most of the characters seem fictional. For Damien Hirst we all believe in what we want to believe: he has chosen to believe in this sensational story and, knowing something about his life, we are not at all surprised!

Cover photo: @Andrew Testa for The New York Times


The 3 cursed (and tragically lost) works of Gustav Klimt

In 1894 the Viennese painter Gustav Klimt was commissioned by the Austrian Ministry of Education to create three of a series of four panels, which would have decorated the ceiling of the Aula Magna of the University of Vienna.

These should have depicted a series of allegories: the established theme was that of "Victory of light over darkness”, And the canvases assigned to Klimt were there Philosophy, the Medicine and the Law (the painter Franz Matsch touched the Theology). Although they were destroyed by a fire, photographs of the time still allow you to admire their disturbing splendor today.

Below, photograph of "Philosophy" (1899/1907)

Artistically, the period was that of the Wiener Secession (Viennese Secession), an artistic movement founded by 19 important Austrian painters, sculptors and architects, among whose founders was Klimt, intent on making a leap forward compared to academic ideals from the past, in order to create an art that reflected the artistic needs of the time and that became authentic of Austria.

A real seat for artists was also created, the Viennese Secession Building, an architectural work of international prominence

Below, the Vianna Secession Building “Wiener Secessionsgebäude”. Image source: institution's official website.

The patrons of the works, academics of the University of Vienna, requested that the works represent the celebration of rational sciences, but Klimt, caught in that period by a personal evolution that would inevitably influence his making art, will openly go against providing a rational vision of the subjects, inappropriate with respect to its decorative symbolism.

Because of this "ideological" refusal, Klimt delivered the works a few years late and they were greatly influenced by the new style he adopted, after the Secession, no longer tied to the academic one, but rich in expressiveness and symbolism. In 1900, during the seventh exhibition of the Secession, Klimt made public the still unfinished "Philosophy".

It caused quite a stir and sparked a bitter clash between the artist and the client

The latter defined the work as unseemly and offensive on a dark background, studded with stars, female figures with naked bodies hovered on the left of the canvas, creating a supple and sensual movement, at times tormented. Due to the predominance of dark shades, it almost seemed that Klimt had wanted to overturn the intent of the works, making darkness prevail over light. In spite of the Enlightenment vision of philosophy, which saw man close to the light of reason, the canvas also caused discussion for its representing humanity not as enlightened, but as prey to a hellish torment, at war for the victory of reason about fears.

Despite the criticisms unleashed from almost the entireintelligentsia Viennese and the appeals of 87 academics presented to the Ministry of Education to ensure that Klimt could no longer exhibit his works, the painter was allowed to continue his work. Indeed, "Philosophy" will be awarded a gold medal at the Universal Exposition in Paris. Thus it was that, in 1901, Klimt, regardless of the heated hostilities, presented "Medicine" at the tenth exhibition of the Secession. In a space lost in oblivion, undressed, wasted human figures, flanked by gloomy skeletons, were entangled by death, wrapped in a dark cloak.

To act as an intermediary between the spectator and the gloomy reality of the painting, there was a solemn priestess: Igea

Already at first glance, it was clear that we wanted to highlight the miserable human condition, conquered by death, rather than the triumph of new scientific discoveries. In addition to the man's surrender as an impotent being, public opinion was shaken mainly by the overbearing presence of female nudes, in particular those of a pregnant woman and another, on the left, whose pubis was facing right in front. to the gaze of the spectators.

Below, detail of Hygieia from the "Medicine" painting:

Although the criticism was getting insistent and increasing dramatically, mostly centering on what was termed a senseless anatomical orgy, creating more and more misunderstandings between Klimt and the academic leaders, the Minister of Education von Hartel still refused to revoke the job of the painter, although he would no longer publicly intervene in defense of the latter. Despite this, 38,000 visitors flocked to see the work, attracted by the growing complaints of immorality.

Medicine in a black and white photograph:

The criticisms that followed the publication of the first two allegories, and a parliamentary question for the fury unleashed against the works, convinced the Viennese Academy of Fine Arts to drop Klimt's candidacy as professor, which caused the artist to close strongly in himself.

But the worst had not yet happened

The real scandal was unleashed following the presentation of "Jurisprudence", in 1903, which contained all the indignation that Klimt had harbored within himself following the harassment suffered over time for the two previous allegories. Represented as an old man, bent over and prey to a monster, Klimt had probably depicted the State as helpless in the presence of the three ideal components of jurisprudence: Truth, Justice and Law, personified by three attractive and lascivious female figures, impassive spectators of the difficulties of the dying man.

In 1904 the disputes became more and more pressing, so much so that Klimt was advised against presenting "Jurisprudence" at the world exhibition in St. Louis. A year later, in 1905, now in bitter conflict with the institutions, thanks to the support of his patron August Lederer, Klimt repurchased his works from the state, determined to free his works from oblivion of censorship.

From that moment on, he would have accepted orders only from the rich Viennese bourgeoisie, and no longer from institutional leaders

Sure he had saved his art from the greedy hands of academics, Klimt, fortunately, would not have seen the fate of the three allegories fulfilled. Died of Spanish fever in 1918, the painter had sold to the patron Lederer one of the three allegories, Philosophy (which remained only sketched) which had been placed in a special room in his apartment, while another wealthy financier of the painter, Wittgenstein, became owner of Medicine and Law, which he kept in his castle of Immendorf, later also transferring Philosophy, donated to him by Lederer.

Here, in 1945, German troops in retreat from the Second World War set a fire, during which the three allegories were completely destroyed, along with other works by Klimt collected by Wittgenstein. While there are only black and white photographs of Philosophy and Jurisprudence, which conceal the true colors of the two paintings, a copy of a color photograph has been received from Medicina, which shows the warm red, gold and yellow tones often used by Klimt in his most important works.

Little known to the general public and destined for a sad ending, full of meaning and strong emotion, the series of allegories by Klimt represents the clear detachment from the institutional one and one of the most expressive moments of his art which, despite being partly lost , remains and will remain indelible in the history of Western art for its richness of gold and enigmaticity.

Cecilia Fiorentini

I studied languages ​​and I am a Conservation of Cultural Heritage student, I am 24 years old and have a great passion for publishing and writing. I delight in reading essays on mystery archeology, spirituality and the beliefs of ancient peoples such as Egyptians, Vikings or Native Americans.


Alighieri, Durante

Alighieri, During. - Supposed son of Francesco di Alighiero II, whose existence is attested only by the codicil of the will of Martinella by Francesco Alighieri, dictated on September 17, 1417. In this act, in fact, the woman declared herself the daughter of a late Francesco di D. di Alighiero, which would have entailed that Francesco, the poet's brother, had given the name of D. to one of his sons, and that a new Francesco was born from this, from which Martinella would have descended.

In truth, Piattoli, demonstrating that the woman on that occasion arrogated - or the notary attributed - an ancestor named D., relegated to the world of fairy tales the D. and Francesco di D. above, characters to the whose existence a scholar such as Barbi had believed. Various arguments confirm Piattoli's repulsion: the main one is that one of those two Alighieri should have lived at the moment of peace between Alighieri and Sacchetti (10 October 1342), which does not remember any descendant of the poet's brother, and no other member of the Alighieri family apart from Francesco himself and Pietro and Iacopo, sons of Dante.

Bibl. - M. Barbi, For a passage from the Epistle to the Florentine Friend, in "Studi d." II (1920) 140-146 (rest. In Problems II 322-327) R. Piattoli, Codice dipl. dant. Additions (II), in "Studies d." XLII (1965) 393-417.


Video: Omicidio Cesarano: Genny come Annalisa Durante


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