Exhibition path


The works on display are an incredible pathway that start from the difficult construction of a new figurative language during the passage from the Empire to the Restoration, all the way to the 19th century, comparing Roman and Florentine sculpture. These are Canova’s three pieces – Portrait of Napoleon and Winged Love of the Hermitage, and the model of the Funeral Monumento to Vittorio Alfiero (which can be found at the local Academy of Fine Arts) – which introduce the exhibition and marki the start of an itinerary into sculpture that starts in Florence all the way to Rome. Lorenzo Bartolini’s influence was of monumental importance to Florence for his ability to move the neoclassical sculptural language toward naturalism through Ingres’s purism and the retrieval of Florentine Renaiss

Canova – Amore Alato

ance classicism: the Young Bacco (the ” Ammostatore”) is testament to the tension surrounding the renewal and the adhesion to the poetry of the “beatiful natural” style.
A group of sculptors who helped usher in this new style were Luigi Pampaloni, Aristodemo Costoli, Pio Fedi and Pasquale Romanelli, whose language renewal proceeded alongside the elaboration of romantic themes. The two sculpture groups of Pasquale Romanelli (Rafaello e la Fornarina) and Pio Fedi (Nello con la Pia) were emblematic of this new trend and respectively came from the Ermitage and the Galleria di Arte Modrna of Florece. The “Siena influence” was represented from outsider Giovanni Dupre, on exhibit with five pieces, one of which being Saffo Abbandonata of GNAM of Rome, and Tito Sarocchi, who was a student both of Bartolini and Duprè.

Duprè – Saffo

The Roman experience, in which the commission of the Papacy, the noble families and European sovereigns in the Grand Tour are still strongly linked to Canonian classicism and the work of Thorvaldsen, as is evidenced by the works of Emil Wolff And Rinaldo Rinaldi at the exhibition.
After the death of Canova and Thorvaldsen’s return to Denmark, Pietro Tenerani, Luigi Bienaimè and Carlo Finelli became the protagonists of the Roman sculpture scene and although their works are novel, they could no, however, free Roman sculpture from the weight of the very traditonal tastes of the Comission. The exhibition thus focuses on this polarization of tastes and figurative intentions through an excursus among the best artists of the first half of the nineteenth century and through a sample of works of great interest, some of which rarely exhibited to the public, such as Carlo Finelli’s Le Tre Grazie, in which the neoclassical theme is confronted with a creative process of romantic sign.

 

 


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