Giacobbe Giusti: Potere e Pathos

Giacobbe Giusti: Potere e Pathos

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Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos

“Power and Pathos” NYC Breakfast Briefing Held March 10th

"Power and Pathos" NYC Breakfast Briefing Held March 10th

. Paul Getty Museum Director Timothy Potts is holding a breakfast briefing on the upcoming exhibition, “Power and Pathos: Bronze Sculpture of the Hellenistic World.”

Potts will also be accompanied by the National Gallery of Art and Palazzo Strozzi representatives, during the morning seminar. It will be held on Tuesday, March 10th, from 9:00 a.m. until 11:00 a.m. at A Voce, located in Manhattan’s Time Warner Center, at 10 Columbus Circle, 3rd Floor. RSVP by Thursday, March 5th to Amy Lowman via telephone at: 212-593-5805 or email at: Amy.Lowman@finnpartners.com.

This March, the National Gallery of Art in Washington, D.C., the J. Paul Getty Museum in Los Angeles, and the Palazzo Strozzi in Florence, are offering, “Power and Pathos: Bronze Sculpture of the Hellenistic World” exhibit.

The exhibition marks the first international large-scale presentation, that displays about 50 ancient bronze artifacts from the 4th century B.C. to the 1st century A.D. from the Mediterranean region.

As a J. Paul Getty Museum press release describes of the exhibit, “is especially remarkable for bringing together works of art that, because of their rarity, are usually exhibited in isolation. When viewed in proximity to one another, the variety of styles and techniques employed by ancient sculptors is emphasized to greater effect, as are the varying functions and histories of the bronze sculptures.”

“Power and Pathos: Bronze Sculpture of the Hellenistic World” will be on display in Florence, Italy between March 14th until June 21st. The exhibition will then travel to Los Angeles and is open from July 28th until November 1st. It will then be presented in Washington, D.C. between December 6th until March 20th. Additional information can be found at: http://www.palazzostrozzi.org, http://www.getty.edu and http://www.nga.gov.
http://www.newgreektv.com/index.php/entertainment/item/14243-power-and-pathos-nyc-breakfast-briefing-held-march-10th
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Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos

Blockbuster ‘Power and Pathos’ Exhibit to Open in Florence

An extensive new show brings together 50 ancient bronze masterpieces

‘Eros Sleeping,’ third-second century B.C., New York, The Metropolitan Museum of Art. | Unlike earlier portrayals of Eros as a fickle youth, this version emphasizes purity in the form of sleeping baby.

‘Alexander the Great,’ first century B.C., Naples, Museo Archeologico Nazionale. | This piece impressed ancient authors with its unprecedented realism.
‘Terme Boxer,’ third century B.C., Rome, Museo Nazionale Romano di Palazzo Massimo. | One of the most famous ancient sculptures--a masterpiece of scarred and beaten realism.
‘Portrait of a Man,’ second-first century B.C., Athens, National Archaeological Museum. | Informally called the Worried Man from Delos, this piece is known for its emotional intensity and individuality.
‘Head of athlete,’ second century B.C.-first century A.D, Fort Worth, Kimbell Art Museum. | Remarkably well preserved--it may be one of the few ancient bronzes that was never buried.
‘Portrait of a poet (Aruendel head),’ second or first century B.C., London, British Museum. | An arresting portrait of an old man, concentrating intensely.
‘Eros Sleeping,’ third-second century B.C., New York, The Metropolitan Museum of Art. | Unlike earlier portrayals of Eros as a fickle youth, this version emphasizes purity in the form of sleeping baby. Metropolitan Museum of Art/Art Resource/Scala, Firenze
  
‘Alexander the Great,’ first century B.C., Naples, Museo Archeologico Nazionale. | This piece impressed ancient authors with its unprecedented realism. Soprintendenza per i Beni Archeologici di Napoli
‘Terme Boxer,’ third century B.C., Rome, Museo Nazionale Romano di Palazzo Massimo. | One of the most famous ancient sculptures–a masterpiece of scarred and beaten realism. Museo Nazionale Romano
‘Portrait of a Man,’ second-first century B.C., Athens, National Archaeological Museum. | Informally called the Worried Man from Delos, this piece is known for its emotional intensity and individuality. National Archaeological Museum, Athens/Art Resource, NY
‘Head of athlete,’ second century B.C.-first century A.D, Fort Worth, Kimbell Art Museum. | Remarkably well preserved–it may be one of the few ancient bronzes that was never buried. Kimbell Art Museum/Art Resource, NY/Scala, Firenze
‘Portrait of a poet (Aruendel head),’ second or first century B.C., London, British Museum. | An arresting portrait of an old man, concentrating intensely. © The Trustees of the British Museum

Is it possible that the apotheosis of Western sculpture was achieved over 2,000 years ago and it’s been all downhill since then? A new blockbuster exhibit, ‘Power and Pathos: Bronze Sculpture of the Hellenistic World,’ strongly buttresses this view.

Greek bronzes hold a rarified place in the art world, both in terms of quality and scarcity. Most Greek sculpture that has survived is carved from marble. In ancient times, however, bronze was more highly prized and served as the material of choice for the wealthiest patrons and most skilled artists. Unfortunately, bronze was also easily melted down for recycling and most pieces have been lost to time and history. Carol C. Mattusch, a bronze expert at George Mason University, estimates that “There are probably fewer than 200 ancient large-scale bronzes, Greek and Roman, unless you want to count an arm here and a leg there.”

So it’s a remarkable curatorial achievement that ‘Power and Pathos’ brings together 50 or so of the most spectacular surviving masterpieces in one exhibit. The show opens March 14 at the Palazzo Strozzi in Florence, before moving to the J. Paul Getty Museum in Los Angeles in July and then the National Gallery of Art in Washington in December. Classical scholars and sculpture lovers are abuzz over the breadth of the show, declaring it one of those rare museum shows that is worth getting on a plane to see. Adding to the allure of the show, many of the pieces have an exciting back-story: a number have been discovered by fisherman or divers at the bottom of the sea. One of the newer stars of the show is the first century B.C. Croatian Apoxyomenos, or Statue of an Athlete, discovered at a depth of about 150 feet in 1997 in the Northern Adriatic off the coast of Croatia. It is largely intact, making it one of the most striking underwater discoveries of the last 20 years. Indeed, from a preservationist’s point of view, the best thing that could happen to a Greek bronze is that it was lost at sea in a shipwreck or buried in a landslide or earthquake.

The works in the show come from “thirty-four museums in thirteen countries on four continents who have entrusted us with many of their most celebrated treasures,” according to the exhibition catalog.

The show is a veritable Murderers’ Row of Greek bronzes, pieces that have been famous for centuries, including the Terme Boxer, from Rome, Sleeping Eros, from New York’s Metropolitan Museum of Art and Boy with Thorn, also from Rome. The piece also contains some memorable newer discoveries that have never traveled before. The Getty, which was the driving force behind the exhibition, custom-built specially reinforced shipping crates for the different works and provided them to the different museums for transport.

Large-scale ancient bronzes rarely come to market and the works in the show are literally priceless. In 2007, an anonymous bidder paid about $28 million for a bronze Artemis and the Stag. Using that as a rough, crude measure, there is about $1.5 billion worth of ancient art in the show. Timothy Potts, director of the J. Paul Getty Museum, declines to put a dollar amount on the art in the show, but notes that the Artemis piece was a Roman bronze, and thus had a “frankly lower” value than the older Greek bronzes in the show.

Not every piece will travel to every location on the tour. For instance, the Getty Bronze, a statue of a naked youth crowning himself with a wreath (300-100 B.C.), is claimed by Italy. Mr. Potts says the piece will travel to D.C., but not to Italy. “It’s an object that’s still going through the court system in Italy,” he says. Unlike other pieces that the Getty returned to Greece and Italy for lacking proper title, the Getty says that the bronze was found in international waters and Italy has no legal claim to the piece. A spokesman for Italy’s Culture Ministry said that Italy still claims the statue and that it is currently awaiting a ruling by Italy’s highest appeal’s court. Despite the one contested piece, the Getty and a number of Italian museums are working closely on the exhibit.

The exhibit focuses on works made in the Hellenistic age versus the earlier Classical period, which portrayed subjects in an idealized fashion—godlike rulers and athletes with unattainable abs and cheek bones, much like a fashion magazine cover. The art in the show dates roughly from the death of Alexander the Great (323 B.C.) to the ascent of Rome over Greece in the first century A.D., when artists began to make their work more life-like and individualistic. The Getty’s Mr. Potts argues that the sculptures of that period are the “most life-like and emotionally charged ever made, and still one of the highpoints of European art history.”

The Boxer is filled with pathos. The bruised, aging fighter has a broken nose, battered ears and blood and sweat dripping from his body. The hyperrealism and emotional content of these pieces has an electrifying impact on contemporary audiences. When the Boxer was on loan to the Met in 2013, guards had to constantly stop people from impulsively touching the statue.

Other pieces show wild beards, crow’s feet and other wrinkles, veins and tendons. “The head of the man from Delos is one of the great examples of individual portraiture from any era,” says Jens M. Daehner, one of the curators of the show. “It really embodies our modern idea of what a portrait is—something that originated in Hellenistic time.”

http://www.wsj.com/articles/blockbuster-power-and-pathos-exhibit-to-open-in-florence-1426093935

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Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos

power pathos palazzo strozzi florence

Apollo (Kouros). [Soprintendenza Speciale per i Beni Archeologici di Pompei, Ercolano e Stabia]

After the great success of the Picasso exhibition, the halls of Palazzo Strozzi are once again open with an international event: POWER AND PATHOS. Bronze sculpture of the Hellenistic world.

The exhibition just opened and will run through the end of June. It offers a truly unique opportunity to enjoy the fruits of prestigious collaborations (between the Fondazione Palazzo Strozzi, the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington DC and the Superintendence for Archaeological Heritage of Tuscany, Tuscany’s directorate general for archaeology). Works are on loan from some of the most important museums in the world (the British Museum in London, the Metropolitan Museum of Art in New York, the Uffizi in Florence and the National Archaeology Museum, the National Archaeology Museum in Naples and in Athens, the Musée du Louvre in Paris and the Vatican Museums).

You can probably already tell why this event is exceptional, but if you need further convincing…

Here are 5 reasons why POWER AND PATHOS is the must-see exhibition for 2015:

1 – This outstanding showcase of bronze sculptures tells us the story of artistic developments of the Hellenistic era (4th to 1st century BCE), when new forms of expression began to prevail throughout the Mediterranean basin and beyond. The use of bronze, with its unique characteristics, allowed artists to impart an unprecedented level of dynamism in their full-figure statues and add naturalism to their portraits.

2- This is a once-in-a-lifetime chance to see some of the greatest masterpieces of the ancient world which have never been displayed together. There are about 50 extraordinary sculptures in bronze – monumental statues of gods, athletes and heroes, alongside portraits of historical figures – made even more special by the fact that the vast majority of large bronzes have been lost. Over the centuries, they’ve been melted down so that their metal could be used in making coins or arms.

3- The Fondazione Palazzo Strozzi’s mission is “not just exhibition”! This is in fact a workshop of new ideas and fun, unconventional ways of experiencing art. Every exhibition is always coupled with a rich programme of activities and events for families, children and adults. This time the tireless promoters of Palazzo Strozzi came up with not one, but three ways to visit the exhibition (and a mystery to solve). Play at being an “art detective”: choose to visit the exhibition as an archaeologist, a forger or a collector, using the special kit specifically designed for each one of the three roles. Then, try to solve the Mystery of the Missing Statue, using the information gathered in the course of the visit!

4- In addition to Palazzo Strozzi’s exhibition, another important and complementary exhibition is being hosted, from March 20 to June 21, by the National Archaeology Museum in Florence: Great Small Bronzes. Greek, Etruscan and Roman Masterpieces. This is an incredible collection gathered over the course of three centuries by the Houses of Medici and Lorraine.

5– 2015 in Tuscany has been declared “the Year of Archaeology”, with countless events throughout the Region. It is no coincidence that the “passport,” which is paired with all of Palazzo Strozzi’s exhibitions, is dedicated to Archaeology in Tuscany this time around. It takes you on a journey to some of our most important museums and archaeological sites.
http://www.turismo.intoscana.it/allthingstuscany/tuscanyarts/power-and-pathos-florence/
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Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos


“Potere e pathos. Bronzi del mondo ellenistico” a palazzo Strozzi
a cura di Elena Diacciati, archeologa
http://cittanascosta.it/event/grandi-mostre-firenze-3/
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Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos

 


Organizzata da: Fondazione Palazzo Strozzi, J. Paul Getty Museum di Los Angeles e National Gallery of Art di Washington con la collaborazione della Soprintendenza per i Beni Archeologici della Toscana
A cura di: Jens Daehner e Kenneth Lapatin
http://www.rossotizianoweb.eu/i-bronzi-mondo-ellenistico-firenze/
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Giacobbe Giusti: Les grecs

Giacobbe Giusti: Les grecs

 



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Reproduction en or du masque funéraire d’Agamemnon. Musée archéologique national, Athènes