ANNIBALE CARRACCI AND THE HERRERA CHAPEL FRESCOES
Annibale Carracci and the frescoes in the Herrera Chapel have long been considered one of the high points of 17th century art in Rome.
Between the 15th and 18th century, the church of San Giacomo degli Spagnoli in Piazza Navona was one of the most representative places for the Spanish nation in the eternal city.
In 1602, the Castilian banker Juan Enríquez de Herrera (c. 1539-1610), a leading figure in international finance at the time, had the family chapel built in the church, entrusting its decoration to Annibale Carracci.
Thus was born the master’s last great masterpiece and a challenge for art historians because it was completed by his workshop, made up of the best artists active in 17th century Rome.
Annibale Carracci and the frescoes in the Herrera Chapel
Giovanni Boldini, Ragazza sdraiata con abito scozzese, 1891 c.a. Olio su tavola, 23,3×26,7 cm Collezione privata. Courtesy Gallerie Enrico
BOLDINI AND THE MYTH OF THE BELLE ÉPOQUE
Giovanni Boldini and the Belle Époque, salons, noblewomen and fashion are the elements of a piece of art history and, at the same time, of costume and fashion.
Looking at Boldini’s works, in fact, one is catapulted into a world of literature and fashion, music and luxury, art and bistro.
This is who Boldini really was: a boy from the Po Valley province who came from the bottom and ended up in the salons of high society, in the beating heart of civilisation and of an era that would consecrate him as one of its most iconic protagonists.
Boldini and the myth of the Belle Époque
THE CERAMICS OF GALILEO CHINI BETWEEN ART NOUVEAU AND DECO
Galielo Chini’s ceramics reveal the work of a multifaceted artist, the inventor of modern Italian ceramics from the end of the 19th century.
Galileo Chini personifies that epochal transition from historical tradition to modernity, that moment in which the legacy of high artistic craftsmanship gave way to the inevitable need to confront a national and international market in constant search of novelty.
Chini belonged to a generation that had to come to terms with a series of epochal changes that brought the question of the relationship between art and industry to the attention of contemporary critical debate. His ceramics are certainly works of art, but also the sign of a changing world.
The ceramics of Galileo Chini
Canova, Napoleone come Marte pacificatore. Museo Revoltella, Trieste.
THE SCULPTURES IN TRIESTE’S REVOLTELLA MUSEUM
Anyone visiting Trieste is fascinated by the works housed in this city and cannot remain indifferent to the quantity of masterpieces and sculptures in the Revoltella Museum.
Founded in 1872 by Baron Pasquale Revoltella, the Revoltella Museum in Trieste is the first modern art gallery established in Italy.
Its founder was one of the most representative figures of imperial Trieste. In his will, he bequeathed his palace and his enormous art collection to the city.
The sculptures in the Revoltella Museum
THE PAINTERS OF REALITY. TRUTH AND ILLUSION BETWEEN THE 17TH AND 20TH CENTURIES
There was a time when a group of artists, called the reality painters, raged against the outcomes of modernism to defend and recover the great pictorial tradition between truth and illusion, from Caravaggio to Spanish and Flemish painting.
The group of artists debuted in 1947 and brought together some of the most important artistic personalities of the time: Gregorio Sciltian, Pietro Annigoni, Xavier, Antonio Bueno, who were later joined by Alfredo Serri, Giovanni Accie Carlo Guarnieri and Giorgio de Chirico, the father of Metaphysics, who consolidated relationships of esteem with the entire group.
The Reality Painters