A shy Spring Wake Rome from its slumber and, from parts of’Hotel Trevi, the scents and colors of the season of flowers remind us of an important event: the exhibition of Monet, Wing hosted Brasini of the complex of Victorian.
The friendly and pleasant temperature sun, in the early days of March, We invite us out, and a short stroll leads within minutes to Piazza Venezia. The altar of the Fatherland and the imposing Trajan's column tear an admiring glance; then the lush green that emerges from the ruins of the Forum reminds us of our goal. Monet and his naturalistic impressionism ahead.
The naturalism of Monet: a light hunter, a maker of color
At the entrance of the exhibition, a short introductory film It provides visitors with the right coordinates to ask yourself consciously in front of the works of Monet. A artist who revolutionized the art scene of his time has changed forever the look that combines painting and nature.
From the biographical notes, we discover the deep love of this artist for gardening and flowers: a bond that becomes the leitmotif structuring of the exhibition. Many of the paintings on display in fact, from the Musée Marmottan Monet in Paris, are the paintings of which the author wanted to surround himself during his last years of life, in his country cottage at Giverny. Rose Views, willows and water lilies of the world-famous; glimpses of avenues or images of the characteristic Japanese bridge that once stood in the grounds of the small country house.
Monet experiences, both on the canvas as on his land: cultivates new hybrids, crossing different species of flowers, the old ritrae, becoming real architect of the subjects of his paintings. And yet, his instinct of "hunter" of views is a clear character in all his works. One of the most interesting choices dell'allestimento is certainly a strategic decision to exhibit side by side works depicting the same subject, caught at different times of day or in different seasons of the year.
Light and color are the real stars of Monet paintings: the elements of an aesthetic of pure perception, that lets the reality of expression and "impress" the observer.
I'm display about 60 works: urban and rural landscapes, depicting London, Paris, Vétheuil, Pourville, Dolceacqua. Rivers, Lakes and ponds are present in most of the works: reflections and ripples, fogs and mists, are elements that allow Monet brushes to express his poetry in its most intriguing and characteristic form.
Equally present are the floral and natural subjects, especially in the second part of the exhibition. The passage in this second area is marked by the transit forced along an "experiential corridor" on whose walls are projected hypnotic animations of the famous water lilies, so often the protagonists of the artist's paintings.
Here impressionism lingers in more abstract forms and the colors are brighter and unreal: a stylistic crease which coincides with a worsening of the problems to Monet's view, During his last years at Giverny. The brush strokes are more energetic and meaningful, foreshadowing in some way successive and contemporary artistic movements.
The light remains a predominant element, and it wraps like a flame of natural forms, flowers and branches up to reverberate in the irises of the beholder paintings.
In counterpoint to the more mature artist's poetics, in the first few rooms are exposed juvenile caricatures author; his first promising approaches to figurative art; as well as family portraits of their children, also made according to a more conventional style, still far from the schemas of what became known as the Impressionists.
The Monet gardener prevails over vedutista
The exhibition is certainly an interesting opportunity, able to collect a success such as to be extended well beyond the initially planned dates. About course under the spell of the Impressionist style will find a small flower paradise in which to get pleasantly lost among the works of one of the founders of the movement. For other amateurs, perhaps, the space dedicated to a natural person works may appear disproportionate, at the expense of a pictorial production best-known landscape and perhaps more striking.
However, despite some "notable absent" among the paintings exhibited, the exhibition shows an inspiring and consistent path. An open window on a more intimate world, private, can reveal the character of a revolutionary painter, among the most important European modern art.