Giacobbe Giusti, ‘Power and Pathos’

Giacobbe Giusti, ‘Power and Pathos’


Arts & Entertainment

Blockbuster ‘Power and Pathos’ Exhibit to Open in Florence

An extensive new show brings together 50 ancient bronze masterpieces

Eben Shapiro

March 11, 2015 1:12 p.m. ET

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…


Giacobbe Giusti: Antony Gormley, Human

Giacobbe Giusti: Antony Gormley, Human

ph. Alexandra Korey

Until September 27

Forte di Belvedere, via di San Leonardo 1, Florence

British sculptor Antony Gormley’s exhibition ‘Human’ explores the connections between art, anatomy and space. Winner of the 1994 Turner Prize and knighted in 2014, Gormley chose Forte di Belvedere for its powerful past and defensive functions. The show features life-size sculptures widely and purposefully dispersed throughout the site, ‘encouraging the viewer to think again about who they are and how they negotiate the spaces around them’—as Gormley intended. For more information, call 055/2768558.

Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos

National Gallery of Art :: Exhibitions :: 2015 :: Power and Pathos: Bronze Sculpture of the Hellenistic World
Horse Head (“Medici Riccardi” Horse), Second half of the fourth century BCE, bronze, 81 x 95 x 40 cm. Florence, Museo Archeologico Nazionale

National Gallery of Art :: Exhibitions :: 2015 :: Power and Pathos: Bronze Sculpture of the Hellenistic World

Power and Pathos: Bronze Sculpture of the Hellenistic World

December 13, 2015 – March 20, 2016


Overview: Some 50 bronze sculptures and related works survey the development of Hellenistic art as it spread from Greece throughout the Mediterranean between the fourth and first centuries BC. Through the medium of bronze, artists were able to capture the dynamic realism, expression, and detail that characterized the new artistic goals of the period. This exhibition will feature works from world-renowned archaeological museums in Austria, Croatia, Denmark, France, Georgia, Great Britain, Greece, Italy, Spain, and the United States. The exhibition presents a unique opportunity to witness the importance of bronze in the ancient world, when it became the preferred medium for portrait sculpture.

Organized by Fondazione Palazzo Strozzi, J. Paul Getty Museum, Los Angeles, and National Gallery of Art, Washington, with the collaboration of Soprintendenza per i Beni Archeologici della Toscana.

Bank of America is proud to be the global sponsor. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Other Venues: Palazzo Strozzi, Florence, March 14–June 21, 2015
The J. Paul Getty Museum, Los Angeles, July 28–November 1, 2015

Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos


Horse Head (“Medici Riccardi” Horse), Second half of the fourth century BCE, bronze, 81 x 95 x 40 cm. Florence, Museo Archeologico Nazionale.

Testa di cavallo detta “Medici Riccardi”

Seconda metà del IV secolo a.C.

Firenze, Museo Archeologico Nazionale, inv. 1639

Power and Pathos: Bronze Sculpture of the Hellenistic World


Upcoming, July 28 – November 1

Exhibitions Pavilion

Free | No ticket required

During the three centuries between the reigns of Alexander the Great and Augustus, artists around the Mediterranean created innovative, realistic sculptures of physical power and emotional intensity. Bronze—with its tensile strength, reflective effects, and ability to hold the finest detail—was employed for dynamic compositions, dazzling displays of the nude body, and graphic expressions of age and character. This unprecedented international loan exhibition unites about fifty significant bronzes of the Hellenistic age.

This exhibition was organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence, and the National Gallery of Art in Washington with the participation of the Soprintendenza per i Beni Archeologici della Toscana. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Giacobbe Giusti: Gormley in Florence

Giacobbe Giusti: Gormley in Florence

Antony Gormley – Human, Forte di Belvedere After the big successes of the past two years, with the exhibition”Soul and Matter” by Zhang Huan in 2013 and “Prospettiva Vegetale” by Giuseppe Penone in 2014, this year the Forte di Belvedere is going to host the exhibition “Human”, by Antony Gormley. “Human” is curated by Sergio Risaliti and Arabella Natalini, organized by Mus.e association with the support of Galleria Continua of San Gimignano and White Cube. Once will realise the execution, taking care of every single logistic aspect and of the realization of the project. The big londoner artist wanted for Florence an exhibition, which sees a contamination of the Forte di Belvedere, which after its reopening, for the first time, will be all visitable and completely free. Big news for the season 2015 at the Forte di Belvedere. The collateral program concerning the events will be published, as always, on the web site Forte di Belvedere. We are waiting for you on the 26th of April for the inauguration of the exhibition, which will be opened till the 27th of September.

Giacobbe Giusti: Rome at night

Giacobbe Giusti: Rome at night

Rome, the great beauty: the Fori illuminated at night

lighting Oscar for the Fori Imperiali, a show at night, a Christmas Rome celebrated between art and history. Last night the lights artistic designed by Oscar winner Vittorio Storaro and his daughter, the architect Francesca Storaro, debuted in the heart of Rome. The eagerly awaited ignition, it will revive the archaeological area even at night, took off around 20.30 from the Forum of Nerva , and then get to the Forum of Augusto and Trajan . “It’s a dream come true – the comments of the mayor Ignazio Marino – See this space in the dark gave death to the heart, because it is a space that we only archaeological us all over the planet.”

All ‘ inauguration also the Minister of Culture Dario Franceschini who did not hesitate to say: “It’s really an amazing thing what did the City of Rome, this work makes the archaeological center of Rome a wonderful thing where only a walk, in the Via dei Fori Imperiali pedestrian. It is really important that happens in the evening which concludes a very important day, historic, where we signed the agreement between Mibact and City of Rome that will lead to a management finally only after decades of lack of communication. ” The permanent lighting project had the support of ACEA, with the president Catia Tomasetti who explained: “The funds invested in the project come from savings feasible.” And among the thousands of people present in the street to see the holes in their new look “by night”, the invitation of Vittorio Storaro was: “Enjoy this thing every night.”

The party for Christmas in Rome is not going to end up here: the long white night of the Imperial Forums , as he called the commissioner for culture of Rome Giovanna Marinelli, will continue at least until April 24 when the light show and historical narrative of Piero Angela and Paco Lanciano will debut at the Forum of Caesar . On the same day will be revealed the first two columns of quadripartivo that surrounded the Temple of Peace, remittances standing thanks to the technique dell’anastilosi. “A Russian donor has agreed to give the city two million of euro, which will raise two order of columns in the vicinity of the column of Trajan. Again – the announcement of the mayor – will ask Vittorio Storaro to help with the lights. ” As to the Trajan’s Column, Marino concluded with a joke: “So, the night, did not see even the Emperor Trajan, with these details highlighted by LED light.”
For the first time the area archaeological center of Rome, the heritage of unique wonders of the world that goes from the Colosseum to the Forum, the Circus Maximus, the Palatine and Colle Oppio with the Domus Aurea, will for the first time a single management, regardless of the properties of the individual monument. Thus was born the Consortium for the Forum of Rome , with the agreement signed by Mibact and Roma Capitale that brings together under a single control room what history wanted linked, in spite of the jurisdiction. A “historic act,” as defined by the Minister Dario Franceschini, which heals a broken secular, overcoming divisions of responsibilities and functions between the State and the City, in the name of one goal: the enhancement of our heritage. The new consortium for the Forum in Rome will be a sort of control room only for the whole area. Everyone will keep the property and income, but overcoming the division of powers and functions provides a single management, dynamic and efficient of an area that has 78 hectares, 6.5 million visitors a year and 42 million of receipts from ticket .


Giacobbe Giusti: Brutus Capitolin

Giacobbe Giusti: Brutus Capitolin

“Capitoline Brutus”, bronze portrait head, glass-inlaid bone eyes, late 4th to early 3rd centuries BC, on a 16th-century bronze bust

Giacobbe Giusti: Brutus Capitolin


Buste de L. Junius Brutus

300-275 av. J.-C.
69 cm

Brutus Capitolin (en italien Bruto Capitolino) est un buste de bronze typique de la période de la république romaine. Les sculptures de bronze romaines sont très rares parce qu’elles ont souvent été fondues à diverses époques pour récupérer la matière première.

Ce bronze a été découvert à Rome en 1500 et associé sans véritables preuves à Brutus, le fondateur mythique de la République. Le visage possède une expression sérieuse, concentrée, et combine de plus des éléments grecs au niveau de la chevelure. La statue est actuellement conservée au Palais des Conservateurs des Musées du Capitole à Rome.

La partie originale faisait sûrement partie d’une statue plus grande, aujourd’hui perdue. La tête, qui nous est parvenue intacte, est un extraordinaire exemple de l’époque républicaine.

  • Ranuccio Bianchi Bandinelli et Mario Torelli, L’arte dell’antichità classica, Etruria-Roma, Utet, Torino 1976.
  • (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « bruto capitolino » (voir la liste des auteurs).