Impressionism Expressionism Cubism and landscape of the new century in Europe

11 September 1999 - 09 January 2000 | Treviso, Casa dei Carraresi

curated by M. Goldin

132 masterpieces from the most important museums in the world have reassembled the extraordinary view of a crucial period of modern painting, the forty years in the nineteenth and twentieth centuries in which they grow and differentiate, not without influence each other, impressionism, expressionism, symbolism and cubism. Landscape painting was explored in its evolution and the richness of its formal values ??and ideology, was the leitmotif of the critical reconstruction. The exhibition, held in the prestigious area of ??the House of Carrara in Italy from 'September 11, 1999 to January 9, 2000, he received an excellent response from critics most reliable and outstanding success. Visited by 195,000 people, with a daily average of 1880 entries, was the third most visited exhibition in Italy in 1999, surpassing even the Venice Biennale, which lasted one month longer. The exhibition, curated by Marco Goldin collaboration with a prestigious international scientific committee was organized in four parts, two centered on interpretations formal, the other two most significant symbolic content of landscape painting.
The first section, aptly titled 'The color free, "he approached the tonal vibrations of works such as Charing Cross Bridge, the Thames and Weeping Willow, Giverny Monet's intense luminosity of color Pigs blacks Pani Gauguin, and the coloring pre -expressionistic the Garden with Sunflowers by Van Gogh to Fauvism divisionistico of "lporto of AbailI" by Matisse. mountain Sainte-Victoire by Cezanne, a key work in the history of modern art, the moment of transition from subjective and impressionistic vision research centered objectivity, dominated the section entitled "the sign and structure." research protocubista derived cesanniana was documented by two mixed by Picasso titled nude in a landscape, while Spring Schiele was an extraordinary example of absolute control of the sign.
The section "The paradise of the origins" has reconstructed the search for a virgin and unspoiled nature, which could act as a radical alternative to the relentless technology and urbanism, documented by the works of Light, Previati and Caillebotte. For some, like Gauguin, this meant travel to distant lands, for others, such as Am Ende, Modershon and Modershon-Becker, creating mystical-philosophical community, for others the ability to approach scenes of primeval beauty, interpreting them in the light of a calm serenity, as the Mondrian the tree of isolated river Gein, or a strong expressive, as the Permeke of Landscapes of Devonshire.
The redefinition dream of pictorial space was at the center of "The landscape of dreams", which documented the sensitivity of spiritualism Symbolist works by Hodler, Khnopff, van de Woestyne and Spilliaert, but its core was the powerful suggestion of attraction Garden and hill and 11 great poplar ll Klimt, as well as nell'evanescenza of Parliament, stormy sky, Monet.