The great history of the modern landscape in Europe
28 October - 2006 25 March 2007 | Brescia, Museo di Santa Giulia
curated by M. Goldin
The second section, entitled From Accademy the first plein air, intended to illustrate the evolution of the landscape from the theatrical backdrop, where occur the stories of mythology and of the Holy Scriptures, a genre in which the nature, do not take that ever important that, in the same year, she's with the work of Constable and Turner, is consciously studied by real painters like Granet, Constantin, Valenciennes and, of course, Corot. Artists all that, especially in their stays Italians, seem decidedly flip the taste of historical reconstruction in favor of a clearer look on nature, finally caressed and loved, covered by a gaze never empty and useless. This provision of love will be the starting point for the young Impressionist painters when, a few decades later, will overlook the Parisian scene.
Then it will gradually earn impressionism in the center of the scene. And, of course, wanting to explain what has accounted for this extraordinary group of painters, landscape, you will need from Barbizon. In the third section, in fact, entitled From Barbizon at the first Impressionist landscape, you will be able to measure what was real, incredible innovation introduced by those artists whose beginnings can be traced back to the early thirties, recognized as the creators of a rupture that marks the end of the ascendant theoretical and aesthetic of the classical landscape. Nature is no longer that of an Italy picturesque and idealized, but the discovery of a France gradually. It begins with an exploration of the forests around Paris, as Compiègne, Montmorency and Louveciennes. But the place that, more than others, invigorates the contemporary French landscape between the thirties and the fifties, was the forest of Fontainebleau and its fractions, Barbizon and Chailly Marlotte. Corot, French and Huet were among the first to attend these mythical places, and were then followed by Diaz de la Peña, Rousseau, Daubigny and Courbet, to mention only the most famous artists who have formed a key bridge between the academic landscape painting in France and the Impressionists. In fact, in their early Monet, Bazille, Sisley and Pissarro find themselves in the same years to paint in this mythical place revising the lesson of the older masters, and in particular by developing entirely new attention given to the pollution and the importance of light.
Entitled Landscapes of Impressionism, the fourth section encompasses over 150 works, so the real heart of the exhibition. No longer just the landscape, but the landscape. A plural is needed to describe the richness and diversity of vision since the early seventies, and to the dawn of the new century, many painters of the Impressionist generation were able to express in their works. In nearly forty years of painting, not only mature and come to fruition impressionist most universally known, but there are evolving in an absolutely final single figures of artists who bring more and more fruitful new elements. If at first then we can associate the names, among others, Sisley, Pissarro, Guillaumin and Caillebotte, the real giants of this unique season are Manet first of all, and then Gauguin, Monet, van Gogh and Cézanne. Artists whose dominant role is reflected in the exhibition by large groups of works of the highest quality.