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Culture

THE REVOLUTIONARIES OF THE COLOUR IN THE VENETIAN RENAISSANCE ARRIVE TO THYSSEN MUSEUM

The Thyssen-Bornemisza Museum has become Paseo de la Castellana into a Venetian canal, with an exhibition dedicated to the artists of Venice of the 16th century, with 89 pieces by Titian, Tintoretto, Veronese, Bassano, Giorgione and Lotto among others, makers of the “great explosion of modern painting”.

Under the title The Renaissance in Venice, Triumph of Beauty and Destruction of Painting, the exhibition, which can be seen in the Thyssen from tomorrow, and which is added to the paintings from the Prado Museum, which has large collections of this period with a large collection of works by Titian and Tintoretto, will became Madrid this summer in the headquarters of “the best Venetian painting collection in the world”, stressed the curator of the exhibition and former director from the Prado Museum Fernando Checa.

One of the objectives of this exhibition is to show how Venice after the passage of religious obscurantism of the Middle Ages became the 16th in the focus of artistic beauty with an idea of art based on beauty and colour. An idea opposed to the aesthetic that was cultivated in Florence and Rome.

“At the end of the XV century, Venice is a very important city of Europe, politically, economically, urban field… but after the discovery and the new routes of trade with the East, the possibilities of the city changed”, Checa explained during the presentation of the exhibition.

“But instead of going into decay,” – he continues- “the Venetians reflected and wondered how we should sell the most beautiful city in the world and thus built this culture around the city with a revival of beauty in the sixteenth century”, adds the curator.

A time in which a painting was born that breaks with the classical conception, with the drawing, with its religious and cultural functions, that became these artists into the ‘big bang’ of the modern painting.

The influence of Venice

“The most important paintings such as Caravaggio, Rubens and Velazquez came from Venice. It is the origin of the what will come after, of all painting that is important today. The most important painters in the Baroque period were born in Venice more than in from Florentine and Roman tradition”, director of the Thyssen Museum, Guillermo Solana, emphasized.

The exhibition, which will be open until 24 September, includes paintings, sculptures and books from the Thyssen collection and private collections and museums such as the Academy Gallery in Venice, the Prado Museum and the Carrara Academy Foundation in Bergamo.

In addition to the Pitti Palace in Florence, the Museum of Art History in Vienna, the Uffizi Gallery in Florence, the National Library of Spain, the Louvre Museum in Paris or the National Gallery in London.

A selection of works selected by Fernando Checa over four years.

The exhibition

The thematic thread of the exhibition is divided into eight areas. The first of them, “East and West: the most beautiful city in the world”, in which the visitor sees the View of Venice by Jacopo de’Barbari, 1500, as well as different portraits.

With “Venice and the dream of classicism” opens the second part that shows the desire for renovation of the medieval city, whose Gothic or Byzantine architecture had to be replaced by classicism. The following thematic order is “Beauty and melancholy of the Venetian Renaissance”, which brings together the sentiment of young melancholic and lyrical beauty with portraits, such as those of Lorenzo Lotto, Giorgione, Bernardino Liciniio or Giovanni Cariani.

“Venetian images of women” explores Venetian painting around beauty, culminating with the image of the woman and the idealized portrait and that has Venus, the goddess of beauty, as protagonist with works of Palma Vecchio, Titian or Veronese.

In this section is the impressive Rapture of Europe by Veronese, which is exhibited for the first time in Spain and outside Italy, coming from the Palazzo Ducale in Venice, as well as Magdalena by Titian.

“The brightness of power” analyzes the image of political authority through the military,with armor and soldier clothes and where the young knight of Carpaccio, symbol of the Thyssen Museum, is inaugurated 25 years ago.

Closes the exhibition “Venetian Pastorals” with beautiful and idealized images, loaded with symbolism and solemnity, and with “The Renaissance sunset”, where the image of the ideal beauty, typical of the Venetian school, becomes a destruction of the painting, from there the title of the exhibition.

The technique that scorned the drawing to focus on the colour, the stain and the chiaroscuro fades and goes into “cruel blots”. In this room is reflected on the destruction of the painting with the crucified Christ, by Titian, like symbol.

June 19, 2017, EFE/Practica Español

Grammar notes: review of irregular verbs, apocopation


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Ejercicio de comprensión B.2 (Comprehension B.2)

Lee la noticia y responde las preguntas. (Read the news and answer the questions)

Congratulations - you have completed Lee la noticia y responde las preguntas. (Read the news and answer the questions). You scored %%SCORE%% out of %%TOTAL%%. Your performance has been rated as %%RATING%%
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Question 1
La noticia trata...
A
de una exposición sobre los principales artistas del siglo quince.
B
de una exposición sobre la pintura del siglo dieciséis en Venecia.
C
de una exposición sobre los mejores cuadros de la historia.
Question 2
Según el texto, los pintores del renacimiento veneciano...
A
apenas influyeron en artistas posteriores.
B
son considerados como el origen de la pintura moderna.
C
carecen de interés para la historia del arte.
Question 3
Según el texto, el punto de vista de la estética en Venecia era muy similar al de Florencia.
A
Verdadero.
B
No se sabe.
C
Falso.
Question 4
Todas las obras exhibidas han sido prestadas por otras galerías y museos.
A
No se sabe.
B
Falso.
C
Verdadero.
Question 5
Hay una carencia de colores en la pintura del Renacimiento veneciano.
A
No se sabe.
B
Falso.
C
Verdadero.
Question 6
Esta exposición podrá verse en la capital de España.
A
No se sabe.
B
Verdadero.
C
Falso.
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