From Fattori to Burri / Roberto Tassi and painters nineteenth and twentieth centuries in Italy
06 September - 8 December 1998 | Conegliano, Palazzo Sarcinelli
curated by M. Goldin
In this scheme, therefore, the faithful shows in his section of Treviso, with a beginning reserved to the work of Turner, in England, before touching his heart more true, the painting of the nineteenth century in France, the main reference rates and as desired. First, Delacroix, Géricault, then Millet, Théodore Rousseau, Corot and then a section with four paintings by Courbet, author of the beloved. The force of reality that is manifested in his works, opens the way to the crucial point, Impressionism, time rates from most loved and to whom he dedicated the largest number of writings. So Manet, Bazille, Boudin, Caillebotte, Degas, Pissarro, Renoir, Sisley, Gauguin and Van Gogh, Cézanne, Rousseau Douanier. But at the center of it all, the painter who has indelibly touched the thoughts of the critic: Claude Monet, Treviso represented by eight paintings that will identify fully the characteristics of style and poetry through his long activity. The idea of ??time and space, who in his "series" Monet showed, undoubtedly bound so strong Roberto Tassi, arouses pages of the most enchanted, especially in the essay collections, beautiful and conclusive Monet's atelier.
Soon after, however, already announced by the works of Monet and Cézanne own, is the scaling of the century, with the images given by some of the artists who have been able to trace the path of art in the twentieth century: Picasso, Braque, Klee, Kandinsky, Matisse, Modigliani, Derain. Of each of them, the exhibition presents selected works, beginning with a masterpiece of Modigliani's Musée Picasso Parigi.Ma is then a continuum of solitary figures, enormous, which shows the attention truer than rates for the new century . Painters who can hardly be considered as belonging to a school, to a group, but, equally, do yourself the true structure of these decades in Europe. Beginning with Edvard Munch, followed by Bonnard, Nolde, Permeke, Vallotton, Soutine, Informal, very loved, Fautrier, de Staël, Wols, Tapies, and again Giacometti, Balthus, Varlin, Sutherland, Bacon. Experiences sometimes linguistically distant from each other, but they have in common adherence to the real things, the excitement for the time you spend, the conquest of space not only as a physical and natural but as an expression of the spirit. It is in this way that the firm, the insight and the word of Badgers, the desire of the figure and of the abstract.