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THAYAHT & RAM

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RAM

(Ruggero Alfredo Michahelles Firenze 1898-1976)

FRASCIONE ART GALLERY

September 19-December 07, 2019

 

 

RAM fra Novecento e Metafisica.

La Natura ricreata.

 Edited by Susanna Ragionieri

Translation by Riccardo Michahelles

 

Multifaceted figure of active artist as painter, sculptor, illustrator, graphic designer and engraver, with interests in the world of theatrical set design, fashion, architecture, RAM, acronym for Roger Alfred Michahelles (Florence, 1898 – 1976), it represents to the full the prototype of cosmopolitan intellectual, “to which Art – as Raphael Franchi wrote back in 1926 – succeeds positively and precise, while changing inspiration and form”. In the abstract, synthetic and consciously decorative tension of his works as in the adoption of different languages, always aimed at the search for a beauty capable of becoming an interpreter of his time, it is to be recognized a voice among the most significant and profound of that spirit of modernity that characterizes and crosses the entire first part of the Twentieth century, defining its complex and sometimes controversial atmosphere.

The exhibition examines for the first time the entire arc of the artist’s activity, with a selection of paintings, sculptures and advertising sketches ranging from the early 1920s to the second half of the 1960s.

Born into a wealthy Swiss-Anglo-American family that moved to Florence since the mid-Nineteenth century on the initiative of the famous neoclassical sculptor Hiram Powers, RAM grows up in an international environment and naturally open to art, practiced primarily by the brilliant older brother Ernesto, aka Thayaht. His beginnings saw him as a cartoonist and creator, in 1920, of the advertising campaign Tuttintuta for the launch of the revolutionary dress designed by his brother; then set designer, author, still at the side of his brother, of synthetic and monumental sketches at Gordon Craig for Aida, awarded in 1924; Finally, a billboard is a signwith in the refined language of déco, as it appears in the Marzocco of E.A.T. of 1925, commissioned as part of a campaign to enhance the image of Florence.

The long periods he lived in Paris attending the ateliers of Alexandre Jacovleff, Maurice Denis, Othon Friesz, in the meantime, become familiar with the results of a nonchalant international language; of that climate, RAM seems rather inclined to grasp, as already Picasso, the lesson of the stylishness of Ingres that, combined with the reflections “between Flemish and Caravaggesco” of The Italian works studied in museums, is the basis of intense paintings such as Yellow turban or Portrait of a model from the precious floral slate, presented in the first Florentine solo show in 1928.

In these years, however, there are two elements that play a decisive role in the construction of the mature language of the artist: on the one hand the intensification of graphic activity, with parallel collaborations to the two important monthly Milanese newspapers – “La Rivista illustrata del Popolo d’Italia” and “Natura” (for which he will design between 1927 and 1942 an average of three covers a year)-, on the other, a renewed commitment to sculpture, which leads him in short to the rough and compact forms of Primitive maiden, close to the plastic of Libero Andreotti, to the cosmic aspiration of Mother Nature and above all to the rhythmic energy of 4 H.P. X 1931 (Quadriga), praised by Marinetti and presented in the main exhibitions of Futurism.   These elements act as effective deterrents against the looming danger of the museum, opening the artist to new problems. These include the relationship with architecture, which, fed on rationalist ideas, as well as being part of a series of visionary projects such as the Monumento al Marinaio of Brindisi, the Nuovo fabbricato viaggiatori of the railway station of Florence (in collaboration with the architects Bianchini and Fagnoni), the Livorno Stadium, or in the Brevetto per “Casolaria” – Casa razionale estensibile (written together with Thayaht), will create a real turning point in his pictorial research, characterized throughout the 1930s, by a particular and personal “neo-metaphysical” experience, in which tangenzeties and develop kinship with the “Italiens de Paris” active in the  French capital: Magnelli, Tozzi, Paresce and especially De Chirico.

From the new decade, in the works of RAM, a particular process begins that, permanently stripping the image of any anecdotal residue, transforms its compositional and spatial structure making it allusive through the symbolic use of architecture , as is the case in Severini or Tozzi, elevating the figures, like Campigli, to the rank of unmoving terracotta statues, while the color lights up with an internal and clear light, as happens in the contemporary works of Magnelli, and a suspended echo of solitude and expectation remains to hover with a subtle reference to de Chirico.  L’Ile de Cythère, The newlyweds, Promenade en auto, Le retour, exhibited in Paris in the personal at the gallery “Le Niveau” in November 1936, or the glassed-in terracotta sculpture The builder, demonstrate the state of grace achieved in this new season. De Chirico himself, who will write a short presentation text for the catalogue, recognizes the artist’s ability to give poetic form to the unfathomable mystery of metaphysical reality.

The theme of “nature recreated” through the investigation of a pure and transcendent beauty, in search of that “living thrill” that for RAM ensures the irreplaceable legitimacy of painting even against then-rising means such as photography (which also he himself uses and manipulates in his updated photo-collages), remains the basis of a series of portraits that reach the forties and will be strengthened even in the following decade, when the chasms opened from the rubble of the Second World War will make this kind of research more difficult by condemning it to an event which often results in the most complete isolation.

Now, in the middle of the post-war period, the cycle of acrobats and jumpers is born that goes to dialogue with the distant roots of the Blue and Pink period by Picasso, in subtle controversy with the break-in on the Italian scene of the Picassian post-cubism of Guernica. Once again the artist starts from the reality and the now mythical memory of when boy, in Maremma, followed “families of jumpers with their furniture houses: tents, theaters, carriages, horses, shimmering and discolored costumes without era, caps and frills, but rich in life.” After all, it seems to suggest in the deep glances of the figures who call into question the viewer with a neo-realist film intensity, “we are all jumpers, we all have a double face, a mask that disguises or hides us from others”.

During the 1950s, if this dramatic atmosphere gradually subsides, the complex artistic parable of RAM nevertheless reserves an unexpected outcome: we could call it a further decisive turn-off -almost a take-off – towards the abstract world of forms, as had happened to old Matisse. This opens the last period of the naked fragment and illumination – real haiku paintings – that dot the Sixties: a pure and free play of rhythms color and light made on the edge of the absolute.

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THAYAHT & RAM

January 13-28, 2018

Futuristi e Città di Fondazione del Lazio

Spazio COMEL Arte Contemporanea

LATINA (LT)

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From 7 July to 5 November 2017 the Matteucci Centre for Modern Art hosts the exhibition: “The short century. Tiles of ‘ 900 ‘. It is a stimulating exhibition, both for the quality of the works and for the conductor identified to present them by Susanna Ragionieri, Curator of the exhibition. To underline that a good number of the 50 works gathered for the exhibition, “emerges” from private collections and is exposed to the public for the first time. The title of the exhibition, “The short century” is naturally recalled to the famous essay published in 1994 by Eric Hobsbawm. The subtitle “Tessere di ‘ 900” instead wants to give an account of an exhibition that proposes a series of testimonies of absolute relief of the past century, tesserae of a mosaic that read in its complexity highlights an artistic period among the most fruitful and creatively tumultuous of Italian art.

Hours:  July 07 – September 10 Tuesday/Friday 17.30 – 22.30 Saturday/Sunday 10.00 – 13.00/17.30 – 22.30, September 12 – November 05 Thursday/Friday 15.30 – 19.30 Saturday/Sunday 10.00 – 13.00/15.30 – 19.30 Monday closed Tuesday/Wednesday: Visits for groups , tickets 8 Euro, reduced tickets 5 Euro.

info > http://www.cemamo.it

 

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In September 2015, in Nevada the Policumbert team of the Politecnico of Torino with the prototype Pulsar has established the new Italian speed record on a human propulsion vehicle, whizzing at a speed of 166.9 km/h.
A very similar concept was developed in 1935 by THAYAHT, with the project multiplies PLURILEVA, a 42-tooth elliptical crown capable of increasing the performance of the human thrust on the pedal and applicable to any bicycle

THAYAHT also applies it to its futuristic pedal-wheel design.

 

 

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Exhibition project from an idea by Stefania Ricci

Salvatore Ferragamo returned to Italy in 1927 after twelve years in the United States. In 2017, to mark the ninetieth anniversary of his homecoming, the Museo Salvatore Ferragamo presents an exhibition offering an overview of the 1920s, a decade now recognized as an authentic forge of open-minded ideas and experimentation free of ideological constraints and prejudices.
Ferragamo chose to settle in Florence in virtue of its acknowledged centrality in the geography of Italian taste and style at a time in which the word “return” was especially meaningful: the return to order in the arts, the return to professional skill and to the great national tradition. Developed in chapters like a coming-of-age story, the exhibition focuses precisely on this trend in the culture of the period.
Curated by Carlo Sisi, it takes Ferragamo’s voyage on an ocean liner back to Italy as its guiding thread: a metaphor of his mental journey through the Italian visual culture of the 1920s, the source of the themes and works that were to influence his poetic vision directly or indirectly. At the same time, it also encompasses all the cultural and social facets that distinguished Italy’s rebirth after the Great War, on the eve of the authoritarian regime imposed by Fascism.

From the official press release

Museo Salvatore Ferragamo, Palazzo Spini Feroni, Firenze
19 maggio 2017 – 2 maggio 2018

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Castrocaro Terme – Padiglione delle Feste – from February 18 until July 02, 2017

GRAND HOTEL DELLE TERME
Strada Statale Tosco Romagnola 40 (47011)
+39 0543767114 , +39 0543768135 (fax)


On display posters (Sepo, Donga, fields), futurist works (Depero, Balla, Prampolini, Fillia), neo-classical works (Ponti, Ram, Cellini), glassware, knick-knacks, illustrations and plates with technique ‘au pochoir’ by Thayaht and woodcuts, pottery of the Royal School of Faenza.

visiting hours: saturdays and sundays from 10:00 am until 7:00 pm. Open on holidays.
From monday until friday on appointment. Tel 0543 767114
tickets: full 5 euro – reduced 3 euro
vernissage: 18 febbraio 2017. ore 17
curator: Paola Babini
genre: collective, drawing and graphics, modern art, decorative and industrial arts
press release

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Leopoldo Metlicovitz, Turandot, 1926, Litografia a colori, Milano, Archivio storico Ricordi | Courtesy of Musei San Domenico, Forlì

From February 11 until June 18, 2017

Forlì | Forlì-Cesena

LOCATION: Musei San Domenico

CURATOR: Valerio Terraroli

PROMOTED BY:

  • Fondazione Cassa dei Risparmi di Forlì
  • Comune di Forlì

PHONE FOR INFORMATION: +39 0543 1912030-31

 

PRESS RELEASE :

A taste, a fascination, a language that has characterized the artistic production of Italy and Europe in the 1920s, with results above all Americans after 1929. What is the definition for all Art Deco was eclectic, worldly, international lifestyle. The success of this moment of taste should be recognized in search of luxury and a pleasant experience, especially as intense as ephemera, fielded by the European bourgeoisie after the dissolution, in the great war, the latest 19th century myths and mimicry of industrial reality, with the logic of its production processes. Ten years frat boys, roaring like you said, the upper middle class international, as the story drew, between war, revolutions and inflation, gloomy horizon of totalitarianism.

After the great exhibitions devoted to the twentieth century and to Liberty, in 2017 Forlì devotes a large exposure to Italian Art Deco.

The relationship with the Liberty, which precedes it chronologically, was first, then passing until the opposition. The difference between the idealism of Art Nouveau and rationalism of the Déco appears substantial. The very idea of modernity, the industrial production of the art object, the concept of beauty in everyday life are changing radically with the lithe, coil and asymmetrical line tied to a Symbolist conception that plant and animal nature to the fundamental laws of the universe, a new artistic language. The vital thrust of the Vanguards, the industrial revolution replace the myth of nature, the spirit of the machine, the geometry of the gears, the prismatic forms of skyscrapers, the artificial lights of the city.

As part of a recent rediscovery of culture and art in the 1920s and, in particular, of that particular taste from the year 1925, the note Style defined the universal exposition in Paris dedicated to the Arts Decoratifs, from which the successful formula that Art Deco sanctioned morphologies and patterns, was born the idea of an exhibition that proposes images and interpretations of a number of historical and cultural events and artistic phenomena that have passed through the Italy and Europe during the period from after World War I and the global crisis of 1929, taking over gradually forms and national characteristics, how to show not only the numerous architectural works, pictorial and sculptural, but especially the extraordinary production of decorative arts. The Deco was the style of cinemas, railway stations, theatres, public buildings, large ocean liners, bourgeois residences: this was, above all, a stylistic form, clearly recognizable traits, which influenced to varying degrees the entire production of decorative arts, from furniture to ceramics, glass to wrought iron, from jewellery to textiles to fashion in the 1920s and early 1930s , as well as the shape of cars, poster, sculpture and painting in decorative function. The reasons for this new system meaningful and taste are recognized in several avant-garde movements (the Central European Secession, Cubism and Fauvism, Futurism) involving several artists such as Picasso, Matisse, Lhote, Schad, while among the international actors of taste must be mentioned at least the names of Ruhlmann, Lalique, Brandt, Dupas, Cartier, as well as worldly and aristocratic portraiture by Tamara de Lempicka and sculptures of Chiparus , that fuels the myth of the dancer Isadora Duncan.Ma the show will especially Italian declination, agreeing with the international biennial exhibitions of decorative arts in Monza 1923, 1925, 1927 and of the 1930 ‘s, and of course of the 1925 Expo in Paris and Barcelona 1929 and 1930. The phenomenon Déco crossed with a disruptive force the Decade 1919-1929 with furniture, ceramics, glass, metalwork, textiles, bronzes, plasterwork, jewels, silver, dresses as the force of high industrial and handicraft production and design and proto birth of Made in Italy. The demand of an increasingly thirsty for news, but at the same time nostalgic Italian artistic handicraft tradition, had literally explode in the 1920s an extraordinary production of objects and decorative forms: from the Venini Martinuzzi, lighting and Fontana Arte di Pietro Church, the ceramics of Gio Ponti, Giovanni Gariboldi, Guido Andloviz, the sculptures of Adolfo Wildt , RAM, Arturo Martini and Libero Andreotti, Lenci figurine or sculpture to original Sirio Tofanari, from Byzantine goldsmiths of Ravasco to silvers dei Finzi, from furniture to Buzzi, bridges, spear, Parkes at silks of Rabbits, rats and Fortuny, as in Depero’s felted wool tapestries. objective of the exhibition is show the public the quality, originality and importance of modern decorative arts have played in Italian art Deco fonts connoting deeply culture also in relation to arts figurative: great painting and sculpture. Here are the stories of the essential works of Galileo Chini, painter and ceramist, flanked by great masters such as Vittorio Zecchin and Guido Andloviz, who looked to Klimt and the Vienna secession; the masters of Faenza Domenico Rambelli, Francesco Nonni and Pietro Melandri; the inventions of the second Futurism of Fortunato Depero and Tullio Mazzotti; paintings by, among others, Severini, Casorati, RAM, Martini, Thayaht, Cagnaccio di San Pietro, Bocchi, Ballesteros, Timmel, Bucci, Marchig, Oppi, all accompanied by the extraordinary production of Richard-Ginori designed by the architect Gio Ponti and emblematic French, Austrian and German examples until the passing of the baton, at the beginning of the 1930s, the United States and to American Deco. It never staged in Italy a comprehensive exhibition devoted to this diverse world of inventions, which not only produces fascinating contamination with modern taste – for example at Coppedè in Rome or at the Vittoriale, last residence of Gabriele D’Annunzio – but evokes atmospheres from the Mediterranean world of classicism, as well as the discovery in 1922 of the tomb of Tutankhamun relaunched in Europe fashion of Egypt. And then echoes the Persians, Japanese, Africans distances and otherness, dreams and suggested escapes from everyday life, in a continuous and illusory comings and goings from modernity to the history.

Being a taste and lifestyle influences were not lacking and correspondences with the cinema, theatre, literature, magazines, fashion, music. From Hollywood (with the Parade of Lloyd Bacon or dive, as Greta Garbo and Marlene Dietrich and stars like Rudolph Valentino) at unforgettable pages of the Great Gatsby (1925), by Francis Scott Fitzgerald, Agatha Christie, Oscar Wilde, Gabriele D Annunzio.

The exhibition is curated by Valerio Terraroli, with the collaboration of Claudia Casali and Stefania Cretella, and is directed by Gianfranco Brunelli. The prestigious Scientific Committee is chaired by Antonio Paolucci.

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From February 09 to March 2, 2017 an exhibition, curated by Daniela Fonti, that pays tribute to one of the most original and versatile exponents of the Italian Futurist movement.

From February 09 to March 2, 2017 an exhibition, curated by Daniela Fonti, that pays tribute to one of the most original and versatile exponents of the Italian Futurist movement.

Painter, sculptor, photographer, stylist, designer, architect, inventor and goldsmith: THAYAHT, originally Ernesto Michahelles, was an eclectic artist and innovator, an avant-garde experimenter of new artistic tendencies. For this reason, Galleria Russo gives tribute to one of the most important representatives of the Futurist movement, a characteristic figure of the art world between the two World Wars.

Galleria Russo,
Via Alibert 20. Free entrance
Visiting hours: monday from 4:30 pm until 7:30 pm;
from tuesday until saturday from 10:00 am until 7:30 pm
Info: www.galleriarusso.com ; tel: 06 6789949 – 06 69920692

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Progetto espositivo in più sedi
da un’idea di Stefania Ricci

Promosso e organizzato da Fondazione Ferragamo – Museo Salvatore Ferragamo

in collaborazione con
Biblioteca Nazionale Centrale Firenze
Gallerie degli Uffizi, Galleria d’arte moderna e Galleria del Costume di Palazzo Pitti, Firenze
Museo del Tessuto Prato
Museo Marino Marini Firenze

L’Orage. Robe, de Madeleine Vionnet, Thayat, 1923

La moda è arte?
Questa semplice domanda nasconde il complesso universo di una relazione articolata, su cui si è indagato
a lungo nel corso del tempo, senza mai giungere però a una definizione chiara o univoca. La moda – per la
sua necessità di essere funzionale e quindi di riferirsi concretamente alla vita reale, nonché per il suo legame
con l’artigianato e con l’industria – sembra essere lontana dall’ideale dell’art pour l’art, concetto che, tuttavia,
non è stato sempre rappresentativo nemmeno del mondo dell’arte. Andy Warhol ci ha insegnato che l’unicità
dell’opera d’arte non collima più con la produzione artistica e oggi proliferano le mostre dei fashion designer
e gli stilisti accolgono con disponibilità le pratiche dell’arte contemporanea. È ancora possibile, in questo
contesto, parlare di dicotomia tra arte e moda come accadeva nel secolo scorso?
Il presente progetto analizza le forme di dialogo tra questi due mondi: contaminazioni, sovrapposizioni e collaborazioni.
Dalle esperienze dei Preraffaelliti a quelle del Futurismo, dal Surrealismo al Radical Fashion. Nel
percorso si focalizza l’attenzione sul lavoro di Salvatore Ferragamo, affascinato e ispirato dalle avanguardie
artistiche del Novecento; su alcuni atelier degli anni cinquanta e sessanta, luogo di studio e d’incontri, e
sulla nascita della cultura della celebrità, per proseguire con le sperimentazioni degli anni novanta e arrivare
a domandarsi se nell’industria culturale contemporanea si possa ancora parlare di due mondi distinti, o se
invece siamo di fronte a un fluido gioco di ruoli.
La particolarità del piano espositivo risiede nella collaborazione di più istituzioni culturali e nella dislocazione
della mostra in varie sedi: oltre al Museo Salvatore Ferragamo, promotore e organizzatore del progetto insieme
alla Fondazione Ferragamo, ospitano le diverse esposizioni a Firenze la Biblioteca Nazionale Centrale,
le Gallerie degli Uffizi (Galleria d’arte moderna di Palazzo Pitti), il Museo Marino Marini e, a Prato, il Museo
del Tessuto.
Le istituzioni coinvolte hanno partecipato attivamente alla realizzazione dell’idea, con l’obiettivo di invitare a
una riflessione comune.

(Dal comunicato stampa ufficiale)

Tra Arte e Moda.
A cura di Maria Luisa Frisa, Enrica Morini, Stefania Ricci, Alberto Salvadori
Museo Salvatore Ferragamo, Palazzo Spini Feroni, Firenze
19 maggio 2016 – 7 aprile 2017
Orario: 10 – 19,30

Periodici italiani nel Novecento
A cura di Stefania Ricci, Luca Scarlini, con la collaborazione di Anna Nicolò, Francesca Piani
Biblioteca Nazionale Centrale Firenze
20 maggio 2016- 15 ottobre 2016
Orario: 10 – 18
Chiuso sabato pomeriggio, domenicae festivi

Ottocento alla moda
A cura di Stefania Ricci, con la collaborazione di Caterina Chiarelli e Simonella Condemi
Gallerie degli Uffizi, Galleria d’arte moderna di Palazzo Pitti, Sala del Fiorino, Firenze
19 maggio 2016 – 24 luglio 2016
Orario: 8.15 – 18.50
Chiuso lunedì

Collaborazioni
A cura di Stefania Ricci, con la collaborazione di Alberto Salvadori
Museo Marino Marini, Firenze
19 maggio 2016 – 31 luglio 2016
Orario: 10 – 17
Chiuso martedì, domenica e festivi

Nostalgia del futuro nei tessuti d’artista del Dopoguerra
A cura di Daniela Degl’Innocenti, Filippo Guarini, Stefania Ricci
Museo del Tessuto, Prato
21 maggio 2016 – 19 febbraio 2017
Orario: Martedì – giovedì 10 – 15, venerdì – sabato 10 – 19, domenica 15 – 19
Chiuso lunedì

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a cura di Marzia Faietti e Giorgio Marini

Trentasette opere, fra disegni e stampe, per lo più mai viste dal pubblico, riferibili ai primi trent’anni circa del Novecento. Rappresentazioni di figure, volti, autoritratti carichi di profonde espressività che innestano giochi psicologici di sguardi tra l’artista e il personaggio ritratto e tra costui e lo spettatore.

Opere che rivelano la complessità dei primi trenta anni del secolo e preannunciano i drammi futuri. Tra gli autori selezionati Jacques Villon, Alberto Giacometti, Anders Zorn , e ancora Ram e Thayaht, Giovanni Costetti, Giuseppe Lunardi, Pietro Bugiani, Kurt Craemer, Primo Conti, Giuseppe Lanza del Vasto, Marino Marini. (www.beniculturali.it Renzo De Simone)

Data Inizio: 17 maggio 2016
Data Fine: 04 settembre 2016
Prenotazione:Nessuna
Luogo: Firenze, Gabinetto Disegni e Stampe degli Uffizi
Orario: Martedì – Domenica: 8.15-18.00chiuso lunedì
Telefono: 055.2388671
E-mail: ga-uff@beniculturali.it

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Piero della Francesca, Madonna della Misericordia, 1445-1462, olio su tavola. Museo Civico, Sansepolcro

Musei San Domenico, Forlì

Nella Sezione 12 “Dopo il Piero della Francesca di Longhi. Tra il realismo magico e il neorealismo della scuola Toscana”, sono presenti tre capolavori di RAM (Ruggero Alfredo Michahelles, Firenze 1898 – 1976):

Sulla Terrazza 1930, affresco 25 x 25 cm, collezione privata;

Les Mannequins 1 (Paris), 1931, olio su tela, 31 x 41,5 cm, courtesy Società di Belle Arti, Viareggio;

Les Mannequins 2 (Paris),1931, olio su tela,  46×38 cm, courtesy Società di Belle Arti, Viareggio.

L’affascinante rispecchiamento tra critica e arte, tra ricerca storiografica e produzione artistica nell’arco di più di cinque secoli è il tema della mostra Piero della Francesca. Indagine su un mito. Dalla fortuna in vita  _ Luca Pacioli lo aveva definito “il monarca della pittura” _  all’oblio, alla riscoperta.

Alcuni dipinti di Piero, scelti per tracciare i termini della sua riscoperta, costituiscono il cuore dell’esposizione. Accanto ad essi figurano in mostra opere dei più grandi artisti del Rinascimento che consentono di definirne la formazione e poi il ruolo sulla pittura successiva.

Per illustrare la cultura pittorica fiorentina negli anni trenta e quaranta del Quattrocento, che vedono il pittore di Sansepolcro muovere i primi passi in campo artistico, saranno presenti opere di grande prestigio di Domenico Veneziano, Beato Angelico, Paolo Uccello e Andrea del Castagno, esponenti di punta della pittura post-masaccesca.

L’accuratezza prospettica di Paolo Uccello e l’enfasi plastica delle figure di Andrea del Castagno, la naturalezza della luce di Domenico Veneziano, l’incanto cromatico perseguito da Masolino e dall’Angelico, costituiscono una salda base di partenza per il giovane Piero. Ma la mostra vuol dar conto anche dei primi riflessi della pittura fiamminga, da cogliere negli affreschi del portoghese Giovanni di Consalvo, nei quali l’esattezza della costruzione prospettica convive con un’inedita attenzione per le luci e le ombre.

Gli spostamenti dell’artista tra Modena, Bologna, Rimini, Ferrara e Ancona determinano l’affermarsi di una cultura pierfrancescana nelle opere di artisti emiliani come Marco Zoppo, Francesco del Cossa, Cristoforo da Lendinara, Bartolomeo Bonascia. Importanti sono i suoi  influssi nelle Marche su Giovanni Angelo d’Antonio da Camerino e Nicola di Maestro Antonio; in Toscana, con Bartolomeo della Gatta e Luca Signorelli; e a Roma, con Melozzo da Forlì e Antoniazzo Romano. Ma l’importanza del ruolo di Piero è stata colta anche a Venezia, dove Giovanni Bellini e Antonello da Messina mostrano di essere venuti a conoscenza del suo mondo espressivo.

La mostra, aperta dal confronto, sempre citato ma fin’ora mai mostrato, tra la Madonna della Misericordia di Piero della Francesca e la Silvana Cenni di Felice Casorati, da conto della nascita moderna del suo “mito” anche attraverso gli scritti dei suoi principali interpreti: da Bernard Berenson a Roberto Longhi.

La riscoperta ottocentesca di Piero della Francesca e affidata a importanti testimonianze: dai disegni di Johann Anton Ramboux alle straordinarie copie a grandezza naturale del ciclo di Arezzo eseguite da Charles Loyeux, fino alla fondamentale riscoperta inglese del primo Novecento, legata in particolare a Roger Fry, Duncan Grant e al Gruppo di Bloomsbury, di cui fece parte anche la scrittrice Virginia Woolf.

Il fascino degli affreschi di Arezzo sembra avvertirsi nella nuova solidità geometrica e nel ritmo spaziale di Edgar Degas. Un simile percorso di assimilazione lo si ritrova in pittori sperimentali e d’avanguardia come i Macchiaioli. Echi pierfrancescani risuonano in Seurat e Signac, nei percorsi del postimpressionismo, tra gli ultimi bagliori puristi di Puvis de Chavannes, le sperimentazioni metafisiche di Odilon Redon e, soprattutto, le vedute geometriche di Cézanne.

Il Novecento è per più aspetti il “secolo di Piero”: per il costante incremento portato allo studio della sua opera, affascinante quanto misteriosa; e per la centralità che gli viene riconosciuta nel panorama del Rinascimento italiano. Contemporaneamente la sua opera è tenuta come modello da pittori che ne apprezzano di volta in volta l’astratto rigore formale e la norma geometrica, o l’incanto di una pittura rarefatta e sospesa, pronta a caricarsi di inquietanti significati. La fortuna novecentesca dell’artista è raccontata confrontando, tra gli altri, gli italiani Guidi, Carrà, Donghi, De Chirico, Casorati, Morandi, Funi, Campigli, Ferrazzi, Sironi con fondamentali artisti stranieri come Balthus e Hopper che hanno consegnato l’eredità di Piero alla piena e universale modernità.

Per approfondire

(Comunicato ufficiale mostra)

PIERO DELLA FRANCESCA
INDAGINE SU UN MITO
Musei San Domenico
FORLÌ

13 febbraio – 26 giugno 2016

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Milano Design Film Festival 2015

Promoting a dress also means to transmit ideals: modernity speed linearity accessibility. The film portrays the versatile Florentine artist Ernesto Michahelles, aka Thayaht, while drawing the universal dress, the overall (TuTa), icon of the standardization of the people under the regime. United we win, and then tuttintuta! To welcome the birth of the TuTa, the people of Florence expects Thayaht to guide them through the city, staging a kind of second renaissance, which celebrates no more the individual, but the value of the community, of the mass. The film, a valuable historical document – included in the MDFF 2015 program thanks to Vionnet – restored in the fifties and preserved in the Thayaht & RAM Archive, addresses diverse topics; one for all, that of ‘democratic’ design, reproducible and accessible. The name of the director is unknown, but the film shows the intention of Thayaht and brother RAM to promote the TuTa and the values ??it represents. The movie is part of a promotion project designed by the artists themselves and carried out in collaboration with the newspaper ‘La Nazione’ in 1920. The film closes with the arrival of the procession at Piazzale Michelangelo, where RAM is waiting, of course dressed in overall: a reunion that emphasizes how the creators, from beginning to end, are the extremes of the idea of universality.

(Marta Franceschini)

MDFF – Milano Design Film festival
Anteo SpazioCinema
Via Milazzo 9 – 20121 Milano

October 15 – 18, 2015

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Exhibition curated by Stefania Ricci and Riccardo Spinelli.

The Salvatore Ferragamo Museum dedicates an exhibition to the history of its centuries-old Palazzo Spini Feroni, in via Tornabuoni in Florence, from May 8, 2015 until April 3, 2016 on the occasion of the celebrations for the 150th anniversary of Florence Capital of the Kingdom of Italy, when in 1865 the building was chosen as the seat of the Town Hall.
The exhibition presents works of art and documents of great prestige from museums and private collections around the world and tells of the complex history of the Palace and of those who have had lived in, returning to the city of Florence, one of the most significant buildings of the Florentine cityscape.
Thanks to the collaboration of THAYAHT & RAM Archive, in the 20th Century section curated by Susanna Ragionieri,  it will be possible to admire some of the works which RAM exhibited in his personal exhibition of 1928 and then, along with his brother THAYAHT and other futurists amongst which Dottori, Fillia, Prampolini and Marasco in the futurist exhibition of 1933.

Museo Salvatore Ferragamo
Palazzo Spini Feroni
Piazza Santa Trinita, 5/R
50123 FIRENZE

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FOTOGRAFIA FUTURISTA curated by Giovanni Lista

Galleria Carla Sozzani, Milano

On the occasion of its twenty-fifth anniversary, the Carla Sozzani Gallery presents “Fotografia Futurista” curated by Giovanni Lista. The exhibition explores, through the arc of half a century, the way in which the futurists took possession of the photographic language as a medium to capture the pulse of life in this new century, and to transmute “natural” reality into a process of active creation and evolution.

Over one hundred original photographs from both private collections and National Trusts: Archivio Francesco Trombadori, Rome; Collezione Giorgio Grillo, Florence; Fondazione 3M, Milan; Fondazione Torino Musei, Turin; Fondo Francesco Negri, Casale Monferrato; Fondo Italo Bertoglio, Turin; Foto Studio Pedrotti, Bolzano; Gabinetto Fotografico Nazionale, Rome (ICCD-MiBACT); Galleria Civica di Modena, MART – Museo di Arte Moderna e Contemporanea di Trento e Rovereto; Museo Nazionale del Cinema di Torino; Raccolte Museali Fratelli Alinari (RMFA), Florence; Touring Club Italiano, Milan.

Divided into four sections, from the destruction of the mimicry of nature, to the innovative research of the Twenties and Thirties, the exhibition “Futurist Photography” includes the formalized photodynamism of the Bragaglia’ brothers, many portraits of Depero, photomontages by Tato, and even photo-performance.
In tune with the best European avant-garde revolutions, futurist works explored liberal and eccentric tastes, the hyperbole of grand visions and ideas well outside of the canons of bourgeois society.

The first section documents the early years. The Twentieth century exposed the illusion of the “natural” images, presenting them as the artifical creations they were. Images no longer reflected nature, but were built in the studio: even the so-called “spiritualist photos” were very often deliberately ironic and openly displayed for amusement. Futurists doubled or split images to capture a sequence, to freeze movement. This formal scanning highlighted the functional reality and placed the focus on the abstract rhythm of light or lines. Multiple portraits were done within a mirrored room or as photomontage with a fantastical or humorous view; a view that Umberto Boccioni immediately saw as an image of the ontological multiplicity of the being which will be reflected in Luigi Pirandello’ s complex novels some time later.

The second section is devoted to the most significant contribution of futurism to the history of photography: the invention of the “Fotodinamismo”, or the photograph of movement as energy in place. The brothers Anton Giulio and Arturo Bragaglia explored the capacity to fix a sudden gesture in terms of pure energy that transcended the body. The Bragaglia brothers sensed the opportunity to capture the light trail drawn by a moving body as a deep verification of a spiritual reality and as the manifestation of the life force that inhabits matter.

The photographic portrait is represented in the third section as a vehicle for futurist communication but also as a chance to re-invent the emblematic image of themselves as avant-garde artists. Compensating for the passive recording of reality by the mechanical process of the camera, some futurists invented the photo-performance in which they delivered histrionic or clownlike self-mocking images of themselves.

The fourth section is devoted to the research of the Twenties and Thirties. At this time the Futurists completely agreed with the best European avant-garde ideas and acted as a visual and intellectual irritant to the growing “fascist culture”. The photomontage, the photo-collage, the composition of objects, the play of light and the use of mirrors, the theater of shadows, the esoteric symbologies, all the mysterious and allusive images and paradoxical ideas were clearly outside of the Fascist regime’s iconography.

On show the selected photos from thirty-one authors from the early Twentieth century until the end of the Forties: Vittorio Alinari (Florence, 1859/Livorno, 1932); Mario Bellusi (Ferrara, 1893/Rome,1955); Francesco Benvenuti (Florence, 1863/Viareggio, 1919); Italo Bertoglio (Turin, 1871/1963), Piero Luigi Boccardi (Intra, 1890/Turin, 1971); Umberto Boccioni (Reggio di Calabria,1882/Verona, 1916); Gustavo Ettore Bonaventura (Verona, 1882/Rome, 1966); Anton Giulio Bragaglia (Frosinone, 1890/Rome, 1962) e Arturo Bragaglia (Frosinone, 1893/Rome, 1962); Mario Castagneri (Alexandria, 1892/ Milan, 1940); Gianni Croce (Lodi, 1896/Piacenza, 1981); Tito D’Alessandri (Rome, 1864/1942); Ferruccio Antonio Demanins (Trieste, 1903/1944); Fortunato Depero (Fondo, 1892/Rovereto, 1960); Mario Gabinio (Turin, 1871/1938); Maggiorino Gramaglia (Turin, 1895/1971); Giovanni Giuseppe Guarnieri (Locorotondo, 1892/Mendoza, 1976); Emanuele Lomiry (Ancona, 1902/Rome, 1988); Elio Luxardo (Sorocaba, 1908/Milan,1969); Carlo Maiorana; Filippo Masoero (Milan, 1894/Rome, 1969); Bruno Munari (Badia, 1907/ Milan, 1998); Francesco Negri (Tromello in Lomellina, 1841/Casale Monferrato, 1924); Mario Nunes Vais (Florence 1856/1932); Ivo Pacetti (Figline 1901/Albissola, 1970); Giulio Parisio (Naples, 1891/1967); Enrico Pedrotti (Trento, 1905/Bolzano, 1965); Guido Pellegrini (Milan, 1886/1955); Tato alias Guglielmo Sansoni (Bologna, 1896/Rome, 1974); Thayaht alias Ernesto Michahelles (Florence, 1893/Marina di Pietrasanta, 1959; Enrico Unterveger (Trento, 1876/1959); Wanda Wulz (Trieste, 1903/1984).

The exhibition catalogue, “Fotografia Futurista” curated by Giovanni Lista and published by Carla Sozzani Editore, will brought together the photographic research and the new visual codes enabling to better understand the Futurists and their enduring influence.

Galleria Carla Sozzani
corso Como 10 – 20154 Milano, Italia

June 11 – November 01, 2015

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con Mario Lupano e Alessandra Vaccari

La storia della moda italiana ha nei primi decenni del XX secolo uno dei suoi periodi più densi e affascinanti. In questi anni – tra due conflitti mondiali e una dittatura – emerge una rete internazionale di avanguardie artistiche e si consolidano processi di modernizzazione dell’industria tessile e dei settori di produzione e consumo di abbigliamento. Durante l’incontro, le voci dei due relatori si alternano per introdurre il pubblico a una lettura interdisciplinare delle relazioni tra moda e modernismo, tra arte, architettura, design e cinema. A essere affrontati sono la questione delle temporalità moderniste; i processi di internazionalizzazione della cultura italiana; la questione della moda nazionale e le visioni indotte dal regime fascista; lo spettacolo della moda e i suoi aspetti performativi.

Alessandra Vaccari Professore associato di Storia e teoria della moda all’Università Iuav di Venezia. Ha pubblicato sulla moda italiana negli anni del fascismo e sul rapporto tra moda e modernismo. Tra i suoi libri: Una giornata moderna: moda e stili nell’Italia fascista: 1922-1943 (Damiani, 2009) insieme a Mario Lupano; La moda nei discorsi dei designer (Clueb, 20012) e Moda e modernismo (Marsilio, in corso di pubblicazione).

Mario Lupano Storico e critico dell’architettura contemporanea, si è dedicato alla situazione italiana nella prima metà del Novecento, approfondendo le relazioni tra modernismo, architettura e fascismo e studiando in particolare la figura di Marcello Piacentini.

Auditorium del MAXXI
ROMA

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Mostra a cura di Tonino Sicoli, Bruno Corà, Massimo Di Stefano, Leonardo Passarelli.

La linea della ricerca astratta nelle pittura del Novecento si sviluppa certamente del geometrismo scompositivo delle poetiche cubo-futuriste di inizio secolo per orientarsi successivamente verso una sempre maggiore delineazione di un astrattismo puro, razionalista e concretista. Cosi in Italia il Secondo Futurismo, distaccandosi progressivamente dal dinamismo plastico boccioniano ha intrapreso una direzione astratta, con forme elementari e con colori a stesura bidimensionale. La pittura non figurativa ha rappresentato un filone che ha segnato fortemente le poetiche del Secondo Novecento e questa mostra vuole giusto coglierne la genesi e le prime fasi, a partire da quegli artisti che hanno mosso i loro primi passi nell’alveo del Futurismo per poi approdare ad una ricerca radicalemente astratta.
La mostra quindi documenta gli sviluppi della cosiddetta Aeropittura verso l’Astrattismo.

Maon – Il Museo Dell’Arte dell´Otto e del Novecento
RENDE (CS)

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Giancarlo Norese and Luca Scarabelli (ed. by), “importraits.”
Cover image: a graphic elaboration from “La Tuta” , 1919-1920
Courtesy of Ministero dei Beni Culturali e delle Attività Culturali e del Turismo (117 UD)
Printed in Italy by a certain number of books., 2014 (no ISBN)

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The review Clothing Cultures published by Intellect Ltd. gathers articles and studies on the clothing culture intended as key element in determining social interaction and behaviour.
The article Utopian clothing: The Futurist and Constructivist proposals in the early 1920s by Flavia Loscialpo, Senior Lecturer in Fashion at Solent Southampton University,UK, where the Tuta of Thayaht is analyzed in the context of Italian Futurism and its relations with Russian Constructivism is presented in the number of October.

CLOTHING CULTURES
Volume 1 Issue 3
Cover Date: October 2014
Intellect Jurnals
ISSN 20500742
ISSN on line 20500750

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Aprono per la prima volta al pubblico, dopo essere stati restaurati, alcuni spazi di uno dei più importanti complessi dell’architettura moderna in Toscana, la ex sede della Cassa di Risparmio di Firenze progettata negli anni Cinquanta da Giovanni Michelucci ed oggi sede dell’Ente CRF.

Nelle stanze di Michelucci – Collezioni del Novecento (un progetto di Barbara Tosti a cura di Lucia Mannini, Chiara Toti, Giovanna Uzzani con la collaborazione di Emanuele Barletti) è collocata in due sale del secondo piano e presenta 62 opere tra dipinti e sculture e una ventina di libri d’artista. In una prima sezione sono esposte opere di Ardengo Soffici, Primo Conti, Lorenzo Viani, Thayaht, che testimoniano la prima stagione novecentesca toscana, caratterizzata da nuovi linguaggi, maturati dal connubio tra la riflessione sulla tradizione e le aperture sulle esperienze delle avanguardie francesi e internazionali. Un secondo percorso propone le opere suddivise per nuclei collezionistici o tematici o corpus di autori, tutte opere che sono state acquisite con la volontà di salvaguardare significativi capitoli della storia culturale e artistica toscana, tra cui la raccolta appartenuta ad un protagonista della cultura del 900 come Alessandro Parronchi (con opere di Mario Marcucci e Ottone Rosai) fino alle edizioni e ai libri d’artista della casa editrice e libreria fiorentina Centro Di. Interessante anche una ristretta scelta di mobili da ufficio disegnati a suo tempo dallo stesso Michelucci per gli ambienti della Banca CR Firenze, la quale ha contribuito, oltre che col prestito di questi arredi, con alcune opere della sua stessa collezione. A corredo un’agile pubblicazione, a distribuzione gratuita, edita da Polistampa.’

“…nell’ambito della raccolta appartenuta ad Enrico Barfucci (1899-1966) è esposta l’opera di Thayaht Sintesi lineare di una danza (1930), il cui prototipo apparve sul numero del marzo 1929 della rivista “L’Illustrazione Toscana” a illustrare i successi della Stabile Orchestrale Fiorentina…” (testo di Chiara Toti).

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THAYAHT & RAM Archive is proud to announce the new website