Museo Picasso Malaga Sala XII ©Museo Picasso Malaga
PICASSO, EXHIBITIONS AND EVENTS IN THE 50TH ANNIVERSARY YEAR
2023 is the year of Pablo Picasso!
There are more than fifty exhibitions and events to celebrate Pablo Picasso in the fiftieth year since his death, and Spain pays homage to him with many initiatives.
The “Picasso Celebración 1973.2023”, this is the name of this long period of celebrations, includes a calendar full of exhibitions that will take place mainly in the five cities where the artist lived and worked during his lifetime: Malaga, Madrid, Barcelona, A Coruña and Bilbao.
Picasso, exhibitions and events
SIMON BERGER’S WORKS WITH PORTRAITS ETCHED IN GLASS
Simon Berger’s works with portraits etched in glass challenge the modes of perception and the material itself.
These are works in which glass is tested to unleash its full potential and transform the smooth surface of the glass plate into an intricate network of cracks and fractures that recreate the human face.
Simon Berger uses a hammer, a tool that should not come close to a fragile material like glass, but in the hands of the artist it is not a tool but an amplifier of effects. Just take a look at the Reels on @simonbergerart, his Instagram profile, to realise how amazing his technique is!
The works of Simon Berger
Canaletto, Piazza San Marco (1723 circa, Madrid, Museo Thyssen-Bornemisza)
FIRST STEPS OF CANALETTO, PAINTER OF VIEWS
Canaletto’s first steps as a painter of vedute can be traced back to a stay in Rome between 1719 and 1720 when, following his father Bernando Canal, a Venetian theatre set designer, he probably met the vedute artist Gaspare Vanvitelli.
We already know how Canaletto painted, but in a recent essay, Charles Beddington has pointed out that Vanvitelli’s example was certainly the decisive inspiration to embark on a career as a vedutista, pursued by the Venetian artist in a completely original way.
Canaletto painter of views
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