Gallerie d’Italia – Milan
from October 26th to March 17th 2019
Poetry of the sublime, subjectivity and escapism. During the first half of the 19th century, the Romantics gave voice to a new European feeling. Milan was at the forefront: the city of great exhibitions, publishing houses, theatres, Foscolo, Manzoni, Rossini, Hayez and Verdi.
A magnificent season that revived the Gallerie d’Italia and Poldi Pezzoli with Romanticismo, the first exhibition to highlight Italy’s contribution to the movement sweeping the Western world.
The collection includes approximately 200 works, from pre-Romantic stirrings to the advent of Realism. To set the scene properly, the Italian paintings are joined by indispensable works by William Turner, the Corots and other leading lights on the international scene. Venture into Italy of the past and discover just how modern Milan and those who put it on the map really were.
Picasso Metamorphosis exhibition from October 18th, 2018 to February 17th, 2019 at Palazzo Reale marks the Milan autumn season: dedicated to the multifaceted and fruitful relationship that the Spanish genius has developed, throughout his extraordinary career, with myth and antiquity, proposes the exploration from this particular perspective of its intense and complex creative process.
The project, a Milanese stage of the great European triennial Picasso-Méditerranée, promoted by the Picasso Museum in Paris with other international institutions, presents about 200 works including works by Picasso and ancient works of art which the great master has inspired, coming from the Musée National Picasso in Paris and other important European museums.
The project is grafted into a path of study on the great artist undertaken by Palazzo Reale over the decades, a real cycle of exhibitions on Picasso that made the relationship between the Spanish maestro and Milan special. First of all the exhibition of Guernica in the Sala delle Cariatidi in 1953, an exceptional event and an authentic gift that Picasso made to the city; followed, almost half a century later, a great retrospective in September 2001, four days after the attacks on the Twin Towers, organized with the collaboration of the artist’s heirs; finally, the monographic review of 2012, which documented in a large chronological excursus the variety of techniques and means of expression that characterized the production of the Spanish artist.
The first exhibition of the great Japanese artist,Takashi Murakami, in an exhibition space fo the Italian public. Through a selection of recent works, including three imponenti Arhat, the exhibition at the Palazzo Reale aims to highlight the ability of Murakami to merge historical references, contemporary and science fiction in a multitude of styles, methods, forms and techniques have become over time a kind of stylistic trademark of a the most celebrated artist of our time.
Takashi Murakami, the great artist appreciated throughout the world for its ability to bring together in his works and traditional Japanese pop culture, manga and Buddhist iconography, arrives in Milan with an exhibition in the Hall of the Caryatids.
Nell’exposure emerges strongly the author’s ability to blend historical references, contemporary and science fiction in a multitude of styles, methods, forms and techniques that have become over time a kind of trademark style.
At the entrance of the exhibition, visitors are greeted by the silvery reflections of light sculpture ‘Oval Buddha Silver’ (2008). The exhibition continues with the presentation of three ‘Arhat’ large size, between 5 and 10 meters in length, designed in response to the recent major earthquake in Japan in 2011. The term ‘Arhat’ is derived from Sanskrit and means’ to be attained enlightenment ‘. The source of the images depicted in these paintings is an old tale that tells the story of the Buddhist monks who face the decline and death, in which demonic monsters and decrepit monks in traditional robes and vestments wander along psychedelic landscapes.
The exhibition, curated by Francesco Bonami, it also presents a selection of self-portraits of the artist, who playfully represent the continuous research that Murakami conducted on self-image and perception of the ever-changing place in the universe. Finally, a third series of paintings depicts a constellation of skulls that – almost like a waterfall – overlap with one another, merging together: psychedelic colors and shapes are placed so in contrast to the final aspect of the subject macabre .
Whenever Leonardo Da Vinci stayed in Milan he would usually go to this house in order to find a few moments of relaxation and walk around its large Renaissance garden, rich in statues and a water fountain, while he was completing his work on the Last supper. Beautiful rooms and frescoes of Villa Atellani; wonderful gardens which still preserve Leonardo’s vineyard.