INFERNO AND DAN BROWN AT THE PALAZZO VECCHIO
Love him or hate him, author Dan Brown will be in presenting his book, Inferno, largely set in Florence, in interview at the Palazzo Vecchio, Salone dei Cinquecento, on June 6 at 6pm.
THE RENAISSANCE DREAM - PALATINE GALLERY
The Palatine Gallery at the Palazzo Pitti
Before mid-September take yourself over to the Pitti Palace to view the incredibly well conceived exhibit all about the subjects of Dreams and their depiction in Renaissance art.
“If dreams are intrinsically a nocturnal and often disquieting phenomenon, coinciding with a vacatio or temporary freedom from the conscious mind, which opens the doors to the darkest recesses of human experience (but also, according to deep-rooted beliefs, opens a gateway to the Divine), the representation of dreams has been a challenge for artists of all ages, involving as it does grappling with the two-fold aspects of convention and fantasy. And in the Renaissance, the artistic responses to this challenge were as varied and illuminating as they could be, as those who visit the exhibition or leaf through the catalogue will see” said Cristina Acidini.
The words of the Superintendent Acidini are a fitting introduction to the exhibition that gives visitors the opportunity to explore for the first time such a fascinating and engrossing topic as The Dream at the time of Renaissance, which attempts to point up its rich variety.
The theme of dreaming does in fact take on a particular significance in ancient mythology and in the Renaissance cultural setting, as demonstrated by its widespread occurrence in the figurative arts and, in particular, in works of a religious nature or those involving the rediscovery of ancient myths. Whether prophetic or premonitory, illustrated by celebrated episodes from the Old Testament (the Pharaoh’s dreams explained by Joseph the Hebrew, Jacob’s dream, etc.), the dream is presented first and foremost as the manifestation and revelation of another world. It also reveals, from a profane perspective, the inductive and speculative possibilities held out to the human spirit; it transfigures the quotidian experience and reveals its erotic dimension; it comes to occupy a valuable place in the theory and practice of art, being no less attentive to oneiric activities than to literature, philosophy or medicine.
“The unusual (in Italian exhibitions) iconographic and iconological approach will enable the public to see from a fresh perspective such famous works as The Knight’s Dream by Raphael in the National Gallery of London, which will be shown for the first time alongside Raphael’s principal source, the Latin poem, the Punica by Silius Italicus, published in Rome between 1471 and 1472” (Alessandro Cecchi).
The exhibition is divided into sections, the first of which define and precisely situate the context in which the dream is revealed: at night, in sleep. The starting point of the exhibition is the Night, represented in all its complex symbology and in particular by means of some of the many sculptural and painted works based on Michelangelo’s Night, which he sculpted in the New Sacristy for Julius de’ Medici’s funerary monument.
This is followed by the section entitled The Transmigration of the Soul, which highlights works related to sleep. This is followed by others relating to the classical myths such as the Frieze in the Medici Villa at Poggio a Caiano by Bertoldo, but also literary works such as the celebrated Hypnerotomachia Poliphili by Francesco Colonna, in which dreaming plays a key role. They stand alongside paintings and engravings with mythological and allegorical themes, some of which are exhibited for the first time in Florence such as The Knight’s Dream by Raphael, from the National Gallery, London and the painting with the Sleeping Venus and Cupid spied on by a satyr by Correggio, from the Louvre. Visions from the Afterlife look at the theme of dreams in the biblical and religious tradition, with graphic and pictorial examples from the 15th and 16th centuries, from Jacob’s Dream to the Interpretation of dreams by Joseph, to the Dreams and Visions of saints such as Helena, Ursula, Catherine of Alexandria, Augustine and Jerome.
The section on Life is a dream is of fundamental importance; it is based on the exceptional iconographic
success of a drawing by Michelangelo, the Dream or the Vanity of human life, as demonstrated by the large number of versions and copies that it has inspired, including those by Giulio Clovio, Francesco del Brina, Battista Franco, etc. In the same section, The Prince’s dreams introduce Francesco de’ Medici and his particular and fecund rapport with dreams, of which there are a number of testimonies, often imbued with fantastic theatricality (such as the Allegory of Dreams by Naldini, to be found in the Study). They are symbolically revealing of the extent to which the Dream is at the centre of the cultural debate at the end of the Renaissance. In this context are to be found drawings, documents and paintings, including the Portrait of Bianca Cappello by Alessandro Allori with the iconography of the celebrated Dream of Michelangelo on the verso and, also by Allori, the rare Headboard of the Bed with oneiric motifs, held in the Museo Nazionale del Bargello.
The penultimate section on Enigmatic dreams and nightmarish visions introduces disconcerting works that are difficult to interpret, such as the print depicting The Doctor’s Dream by Albrecht Dürer where it is difficult to decide whether the artist has represented a dreamer tempted by Venus or the dangers of sloth; or Cybele who makes fun of an alchemist who has fallen asleep at his crucible. Other nightmare scenes are inhabited by the Devil as Separator, the great Transgressor and bringer of nightmares, who appears when day gives up its sovereignty and the darker side of things appear -- which brings us to visions of hell and the Temptations of Saint Anthony, by Bosch, Brueghel, Jan Mandijn and Met de Bles.
The exhibition concludes with a reference to Dawn considered during the Renaissance as the space-time of true dreams (represented by a painting by Battista Dossi) to finally open out to the Awakening (with the Awakening of Venus by Dosso Dossi, Bologna, Collezione Unicredit Banca) as an expression of the paradigmatic and complementary cyclical nature of time.
Full Price: € 13,00
Reduced: € 6,50
Tuesday to Sunday: 8.15-18.50
ITALY PLAYS CUBA IN VOLLEYBALL IN FLORENCE
Florence is luck to host the International Championships in Volleyball at the Nelson Mandela Forum on June 16 at 8pm. For details and tickets see www.mandelaforum.it .
NIGHT OF ST. JOHN MARATHON – Not Exactly on St. John’s Day
On Saturday, June 22 at 9pm the Night of St. John Marathon will kick off in Piazza del Duomo. This will be a 10K passing all of the major monuments. For details check www.firenzemarathon.it and click on “Eventi”.
THE SPRINGTIME OF THE RENAISSANCE: SCULPTURE & THE ARTS IN FLORENCE 1400-1460
Palazzo Strozzi, until 18 August 2013
The new exhibition at the Strozzi Palazzo, organized by the Fondazione Palazzo Strozzi and the Musée du Louvre, proposes to illustrate, in theme-based sections, the origin of what is still known today as the "miracle" of the Renaissance in Florence, doing so principally through masterpieces of sculpture, the branch of figurative art in which that new season first saw the light of day.
The first section is devoted to the rediscovery of the ancient world during the "rebirth" that occurred between the 13th and 14th centuries – from Nicola Pisano to Arnolfo di Cambio and their successors – and following assimilating the expressive richness of the Gothic style, especially of French origin, the two panels depicting the Sacrifice of Isaac by Lorenzo Ghiberti and Filippo Brunelleschi and the model of Brunelleschi's Dome of Florence Cathedral represent the fundamental starting point of the Early Renaissance .
Arranged around the city's absolute symbol – the wooden model of Brunelleschi's Cupola for Santa Maria del Fiore – the exhibition offers a retrospective of sculpture that was also to have a crucial impact on the development of the other figurative arts, in a direct debate with its classical predecessors, from the tombs of the Humanists, to the inspiration provided by ancient sarcophagi, to the rebirth of the equestrian monument and the carved portrait. The carved portrait, which started to become popular towards the middle of the century – in the marble busts of Mino da Fiesole, Desiderio da Settignano and Antonio Rossellino – heralds the transition from fiorentina libertas to the private patronage that was soon to lead to the hegemony of the Medici family. In this context, the exhibition – which opened with the evocation of Brunelleschi’s dome – closes with the evocation of the most illustrious private residence of the Renaissance in the shape of a Wooden Model of Palazzo Strozzi. (text from the official website.)
Info: Tel. + 39 055 2645155
Tickets sold until one hour before closing time.
Tickets: Full price € 12.50; Concessions € 8.50, 8.00
CONTRAST BETWEEN CONTEMPORARY AND CLASSICAL – Modern Sculpture Exhibition
SACI is proud to present a sculpture installation by Bryan Holt Moore on exhibit until June 22.
Mirror, mirror on the wall, who's the fairest of them all?.... With this fairy tale question Bryan Holt Moore presents a dilemma between the classic and the contemporary in art. A female figure literally looks into a mirror, which reflects through a second mirror, not her own image, but that of an abstract contemporary sculpture. Which might be the observer's first choice?
Remaining within the fairy tale theme, Moore proposes, "Once upon a time, in a far away land, we surprise the ancient giants whose past-time was to play the well known game of pick-up-sticks..." But they didn't pick them up; perhaps they were the naughty giant's children?
Visitors are confronted with the inconvenience of a contemporary art installation both in its interpretation, and physically, in its overwhelming challenge to navigate through. There are a total of 17 "sticks" amounting to over 116 meters of length.
Bryan Holt Moore was born in Los Angeles, California, 1951. He studied for two years at the University of California at Santa Cruz before transferring to Emerson College in Sussex, England. After one year of studying liberal arts he moved to Germany where he did a three-year apprenticeship as a cabinet-maker, realizing the title of "journeyman". Being fascinated by the European way of life he decided to not return to the United States and moved back to England where he worked as a toy maker for a year. Soon afterwards he transferred to Oslo, Norway, where he stayed for almost three years continuing with furniture making and sculpture in wood. He decided to make a big change coming to Italy in 1980 to try working with marble. In Carrara he became immersed with marble, and preferring the material for sculpture. However, more recently, he has done a number of new works with a mixture of materials.
Since his first solo exhibition in Milano in 1983, Moore has had numerous shows in Italy, Switzerland, Germany, and the United States. Presently, he resides outside Florence.
The MAIDOFF Gallery is open Monday to Friday 9am-7pm.
Studio Art Centers International
Palazzo Jules Maidoff - Via Sant'Egidio 14
Press Office: T 055 289 948 - F 055 277 6408 firstname.lastname@example.org www.saci-florence.edu
FIERUCOLINA FOR JUNE
On Sun. 2, pop around to Piazza S.S. Annunziata and admire the crafts and organic food fair. This one, Arti and Mestieri as the name suggests will provide all of your art and gift needs. Your will also find handmade ceramic whistles for kids, antiques, food, hand-woven dresses and linens, beeswax candles, naturally scented soaps and oils, home-baked bread and cakes, ceramics, wine, olive oil, hand-carved wooden salad bowls and more. www.lafierucola.org.
There are Fieruculinas on other June Sundays: Piazza Santo Spirito on June 16 and at the Vecchio Conventino, Via Giano della Bella, 20 on June 9.
NEW IN SHOES – The Prodigious Shoemaker: Legends & Fairy Tales On Shoes And Shoemakers
There is a new exhibition that just opened at the Salvatore Ferragamo Museum, where various artists interpret the fabulous role of shoes in legends, myths and fairy tales. Curated by Stefania Ricci, Sergio Risaliti and Luca Scarlini, the exhibition portrays various artists’ interpretations on the universe of shoes: from the original manuscript of Federico Garcìa Lorca’s “La zapatera prodigiosa” to writers and poets such as Hamid Ziarati, Michele Mari and Elisa Biagini, Argentine-Italian composer Luis Bacalov and Milanese visual artist Liliana Moro; all works focus on a brilliant point-of-view of a lady’s second best friend.
From April 19th, 2013 to March 31st, 2014
Salvatore Ferragamo Museum – Piazza Santa Trinità 5
LUXURY AND ELEGANCE – Silver Gallery of the Palazzo Pitti
This is the last chance to see the plates that Napoleon and his sister Elisa, Grand Duchess of Tuscan ate off; as well as to see French porcelain from the ducal court and the Ginori ceramic factory (1800-1830) in the 'Museo degli Argenti' (The Medici Treasury) at the Pitti Palace, closing on June 23.
To mark the 40th anniversary of the inauguration of the Museo delle Porcellane in Palazzo Pitti, the Polo Museale has organized an exhibition designed to highlight both the important collection in the Palazzo Pitti museum and the Doccia Manufactory's output during the Napoleonic occupation and the restoration of the House of Lorraine (1800-1830). The changes that the advent of Napoleon's empire brought to the governance of Tuscany were reflected in the arts as early as under the Kingdom of Etruria (1801-1807) with Louise de Bourbon Parma, but they reached a crescendo under Elisa Baciocchi. Napoleon's sister, initially princess of Lucca and Piombino (1805-1809) and later grand duchess of Tuscany (1809-1814), promoted a renewal of interest in the arts, which had been lacking for some time. Her patronage not only brought sculptors, painters and musicians flocking to Florence, it also fostered the artisan industries of Tuscany by encouraging the production of silk, furniture and porcelain. The Doccia Manufactory played an important role in this newly vibrant artistic climate, evincing major French influence in both its formal and its decorative aspects.
Full Price: € 10,00
Reduced: € 5,00
The Education Department is offering the visitors a free opportunity to know the art of making porcelain.
Every Saturday morning from 11 a.m. to 1 p.m. until June 15 at the Porcelain Museum (entrance from the Boboli Garden)
ORIGINAL LANGUAGE FILMS – Fulgor Cinema
The Fulgor makes one of their theaters available for Original Sound movies, seven days a week, three show times a day. Call to find out what is showing in English. Via Maso Finiguerra – Tel. 055 238 1881
ORIGINAL LANGUAGE FILMS – Odeon Cinema
The Odeon is still presenting original sound movies, but with less frequency. Visit the web site or stop by the theater for the most recent schedule. www.odeonfirenze.com
Piazza Strozzi, Firenze
Tel. +39.055.214068 or +39.055.295051
ORIGINAL LANGUAGE FILMS – Talking Movies at the British Institute
The Talking Movies Series at the British Institute Library: Every Wednesday at 8:00 pm, the Sala Ferragamo in the Institute's Harold Acton Library hosts a film, followed by discussion. The British Institute Library, Lungarno Guicciardini 9. Check the web site at www.britishinstitute.it/en/events/default.asp for times, dates, and detailed information or stop by the library for a brochure.
“Music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety or misery… It often lifts mere dialogue into the realms of poetry… it is the communicating link between screen and audience, reaching out and enveloping all into one single experience.” - Bernard Herrmann 1911-1975
Why do films have music? What constitutes good film music? What are the narrative or emotive functions of music in films? To what extent is music in films explicitly heard by the moviegoer, and even if it is heard subliminally, what are the implications of the viewer attending or not attending to a film’s music? Stravinsky asked ‘Who likes film music? Who understands it? Who needs it?’ No name stands out more in the annals of film music history than that of Bernard Herrmann (1911-1975), often described as Hitchcock’s maestro (for his most celebrated work in that director’s films). But Herrmann’s film compositions have enriched the movies of Hollywood over a much wider range, beginning with his debut in Orson Welles’s Citizen Kane – until recently the ‘greatest film ever made’ – and ending with the memorable score for Martin Scorsese’s Taxi Driver.
It was said that Herrmann “… knew how to make music that came not just from the action we are seeing or the characters, not just from the heart of a film or the incoherent dream of its director, but from the unique marriage of a particular film and the large medium. Herrmann knew how lovely the dark should be, and he was at his best in rites of dismay, dark dreams, introspection, and the gloomy romance of loneliness.”
So, climb on board the raft and sail away with a selection of movies showcasing Herrmann’s talents, including the four Hitchcock (and Herrmann) masterpieces, The Man Who Knew Too Much (1956) – in which Herrmann appears as conductor – Vertigo (1958) – as of 2012 ‘the greatest film ever made’ – North By Northwest (1959) and the all-time classic Psycho (1960). Cape Fear (1962) features music in a slightly different key, as does Obsession (1976) – partly filmed in Florence. “In a good film score one is not aware whether the music is making the film go forward or whether the film is pushing the music forward.” - Bernard Herrmann
Wednesday, June 05, 20.00
Film: Cape Fear (1962) with Gregory Peck, Robert Mitchum, Polly Bergen
Wednesday, June 12, 20.00
Film: Obsession (1976) with Cliff Robertson, Genevieve Bujold, John Lithgow
Wednesday, June 19, 20.00
Film: Taxi Driver (1976) with Robert De Niro, Jodie Foster, Cybill Shepherd
BRITISH INSTITUE LECTURE & CONCERT SERIES
Every Wednesday at 18.00 from September to June there is a lecture, concert or other event in the Sala Ferragamo in the Harold Acton Library followed by an informal drinks reception.
Wednesday, June 05, 18:00
Lecture: Corinna Salvadori Lonergan and Anatole Tchikine
Lorenzo the Magnificent’s Ambra: a poem and a villa with garden, Poggio a Caiano
[This lecture is preceded by a presentation at 16.30 of the new book “Roscoe and Italy”]
Emeritus Professor of Italian at Trinity College Dublin, Corinna Salvadori Lonergan discusses the famous poemetto ‘Ambra’ by Lorenzo de’ Medici (1449-1492), which she has translated into rhymed octaves; she is joined by Dr Anatole Tchikine of Dumbarton Oaks, who explains the connection with Villa Poggio a Caiano.
Wednesday, June 12, 18:00
Lecture: Michael Griffiths
Niccolò Machiavelli, ‘the disarmed prophet’
On the occasion of the 500th anniversary of the publication of Machiavelli’s The Prince, the Vice-Chairman of the British Institute, Michael Griffiths, offers a sympathetic portrait of its much maligned author.
Wednesday, June 19, 18:00
Lecture: Mauro Annese
Petroleum: the beginning and end of a precious resource
A geologist who has worked for oil companies in Egypt, West Africa, the Persian Gulf, India and Indonesia, Mauro Annese examines the complex role of petroleum in today’s world.
Wednesday, June 26, 18:00
Lecture: Gherardo Vitali Rosati
Carlo Goldoni and Pietro Chiari: two authors for one company
“That rare Italian master Julio Romano” is the only renaissance artist who is mentioned by Shakespeare; their connection is explored by Professor Rita Severi of the University of Verona, in the light of the treatise on painting by Giovan Paolo Lomazzo.
MORE AT THE BRITISH INSTITUTE – The Second Festa della Cultura San Giovanni Battista
CONFERENCE – June 21
"Preparing the Way II - The representation of John the Baptist"
The conference is part of the second Festa della Cultura - San Giovanni Battista - again presented by i Buontalenti.
The guest speakers include maestro & artist Federico Maria Sardelli, musicologist and cultural historian Kate Bolton M.Phil and Samantha Stout PhD on behalf of Prof. Maurizio Seracini from Editech, Centro Diagnostico per i Beni Artistici e Architettonici.
The conference will once again be chaired by Mark Roberts MBE, MA, Cultural Programme co-ordinator, British Institute of Florence.
Tickets for this event are now on sale in the library at the price of €10, which also includes a buffet lunch and invitation to the Symposium. To reserve your place please contact the Library.
SYMPOSIUM – June 21
"Come andare avanti? : the way forward."
An open platform for both arts practitioners and the public to discuss ideas for developing the festival for Florence in the future.
This is part of the stated mission of i Buontalenti : to bring Italian and Anglo-Florentine artists and audiences closer together. We would like to invite all Florentines to participate in this exciting forum.
The Symposium which commences at 14.00 is open free of charge to members of the public - the exhibition will be on view to the public from 13.00.
EXHIBITION – June 21
"Il Passato è Presente II"
A sacred art exhibition with contemporary works by Florentine artists including Antonio Ciccone, Alessandro Vannini, Caroline Jervis, Massimo Pivetti and Helen Bayley; sculptor Jason Arkles; photographer Neri Fadigati and visual artist Alessandro Secci. These will be contrasted with classic works of San Giovanni Battista literally revealed in a fresh light by Editech, Centro Diagnostico per i Beni Artistici e Architettonici - whose multispectral diagnostic imaging and analytical diagnostics have examined over 18 paintings of San Giovanni Battista by some of the world’s most famous artists.
CONCERT – June 21
"DOLCISSIMO SOSPIRO - Cantare e Sonare nel primo Seicento"
On the evening of Friday 21st, also at the British Institute of Florence, will be a concert of essentially Florentine baroque music with soprano Claudia Conese and three musicians from Modo Antiquo: Maestro Federico Maria Sardelli, flauti dritti; Bettina Hoffmann, viola da gamba and Giovanni Bellini, liuto e tiorba.
Tickets for the concert which commences at 18.00 are now on sale in the library at the price of €10.
A combined ticket for the conference and the concert is available in the library at the price of €15.
TAKE A MURAL PAINTING CLASS
FlorenceArt.net offers the possibility to take private lessons in the arts of gilding, decorative painting, Venetian plasters and restoration of paintings. They also organize courses for groups upon request. Participants learn traditional European decoration techniques in our school-laboratory in Florence or in scenic Tuscan settings, carefully chosen for participants to enjoy the good life. These courses are a must for faux and trompe l'oeil painters, interior designers, antique restorers, crafts people and art connoisseurs.
Now FlorenceArt.net is offering an intensive week on mural painting in June, which breaks down the individual challenges of mural painting, allowing you to concentrate on mastering the various elements and on bringing them together to great effect.
Course: Trompe L'Oeil Chiaroscuro
Teacher: Alison Woolley,
Location: Firenze Via della Scala 11, 3rd floor Dates: June 3-7, 2013
Times: Mon-Fri 9:30-13:30
Cost: €600 euros
Course: Scenic Elements
Teacher: Alison Woolley,
Location: Firenze Via della Scala 11, 3rd floor
Dates: June 3-7, 2013
Times: Mon-Fri 14:30-18:30
Cost: €600 euros
For more info on these courses:
To register: Fill in the registration form online: http://florenceart.net/registration/
SANT’AMBROGIO NEIGHBORHOOD SHOPPER FIDELITY CARD – Big Savings
The Sant’Ambrogio Market introduced a loyalty card to reward its faithful customers with discounts and promotional offers. Now the Sant’Ambrogio We Are Florence (We-Fi) card has been extended to include other neighborhood businesses. You can buy “what you want, where you want, and when you want” to accumulate points that will be turned into vouchers to use for your future purchases and services. The We-Fi Card is free and allows you to take advantage of special discounts and promotions for you. Every 500 points is good for a discount of 5 euro.
Already popular with locals, the new gives discounts at over twenty stores, bars, restaurants and stands within the Sant’Ambrogio market and businesses located in the neighborhood stretching from Piazza Beccaria to Piazza dei Ciompi, Via Ghibellina, from Via de Macci to Via dell’Agnolo. Among the participating merchants are butchers, pharmacies, tripe sellers and lingerie shops. The merchants have joined because of a common neighborhood identity, so that they can be more competitive and offer customers a small, but real, reward for loyal shopping.
Look for the distinctive Sant’Ambrogio We Are Florence (We-Fi) sign to get your free fidelity card.
See also: http://www.wefi-card.it
FESTA DELLA CULTURA - San Giovanni Battista
June 21 to 25 the second year of the San Giovanni Battista Festa della Cultura is again dedicated to the people of Florence in celebrating the feast day of the city’s patron saint on 24th June. As before, the event will be presented by the founders of the festival I Buontalenti - a group of colleagues established to initiate creative opportunities and work for Florentine artists, musicians and writers.
The festival will be in partnership with Associazione Via Maggio, the British Institute of Florence, St Mark’s English Church and the Amici di Palazzo Pitti. The Festival has received the patronage of the Comune di Firenze, the Provincia di Firenze and the Società San Giovanni Battista. For details see: