A dream of post-pandemic Italy at the new Milan fair at Gallery d’Italia

As Italy and the rest of the world try to look to a post-pandemic future, the new exhibition in Milan shares its message of optimism and recovery by delving into the past.

Canaletto Regatta on the Grand Canal It depicts Venice’s main waterway teeming with lavishly decorated boats and packed with spectators cruising along the docks. It is the spectacle of the annual Regatta that is held during the Carnival celebrations in Lake City in February every year. While Canaletto’s painting depicts the past, it’s also a poignant reminder that these incredible carnival events have virtually been canceled or held for two consecutive years now amid the coronavirus emergency. Canaletto’s artwork is currently on display in Milan as part of the Gallerie d’Italia’s Grand Tour: Dream of Italy from Venice to Pompeii Exhibition. The show travels to the peninsula, as wealthy travelers would have enjoyed in the eighteenth century, in a celebration of Italy’s architectural and natural glories that also expresses a yearning for recovery and recovery after the pandemic.

dreaming of Italy

At Gallery d’Italia Grand Tour: Dream of Italy from Venice to Pompeii Some 130 paintings and pieces from the gallery’s collection and on loan from many prestigious galleries around the world tell the story of the educational and formative path that travelers in the seventeenth, eighteenth and nineteenth centuries would have followed throughout Italy. It is a homage to the wonders of the country as discovered and admired during the Grand Tour, and the travelers who forged an idealized perception of Italy. Through the different styles and themes of the artwork, visitors to the exhibition can understand how historic cities, archaeological remains, and natural landmarks have made a strong impression on international tourists. The visitor also goes on a metaphorical journey to rediscover Italy.

The exhibition is organized into themes focusing on both artistic styles and the interests of high-profile tourists. One section focuses on cityscapes and ruins that strive for accurate detail and realistic representation. Thomas Bach View of Firenza from Belosgardo It depicts the spread of the city of Florence very accurately, while Giovanni Paolo Panini Charles Bourbon visits St Peter’s Basilica He cares about architecture as much as he cares about the exquisite clothing of his visiting companions. Also in this section of the gallery are a stunning pair of artworks by Michelangelo Barbieri depicting the Roman Forum and Saint Peter’s Square using delicate mosaics, the tiny tiles only visible when looking closely.

The ancient archaeological ruins – some in Pompeii and Herculaneum discovered in that period – were another charm for Grand Tour travelers. The paintings in the exhibition show how artists and writers imagined and reimagined the remains, trying to capture the sense of awe of the remains of this civilization’s heyday. In Hubert Robert’s antiquity fossilsA visitor entered the dark arched building in the process of excavation and an ancient statue appeared by the light of a burning torch, representing the wonders of discovery.

Nature was also a source of awe, especially dramatic scenes like waterfalls, a violent sea or an exploding volcano. Due to the rise of fine art in this period, Vesuvius in work was a much-desired subject. One of the gallery’s walls is dominated by a fiery, lava-filled depiction of the erupting volcano whose power and fury are underlined by the two shady young spectators in the foreground.

Reminder of the trip of a lifetime

The artworks displayed in the gallery were commissioned by the travelers themselves as souvenirs. panini View visualization It is a charming example of capriccio The painting where the client asked to assemble several classic buildings into one imagined scene. Here, Panini surrounds the Antonine Column with the Pantheon and other temples not found in this design in real life.

The exhibition also focuses on the main characters, who gave rise to the idealistic and romantic image of Bill Pais. On the walls of one room, nobles, artists, intellectuals, and academics stand carelessly against backdrops of dramatic ruins, one arm bent casually over an ancient statue as if by claiming dominance. Pompeo Batoni was a noted portrait painter who immortalized daring explorers. He made sure to set the scene in his studio with bits of rubble, one in particular of a lion appearing in multiple panels.

From the bank to the exhibition

The exhibition is organized by the Italian Bank Intesa Sanpaolo, which has a section dedicated to cultural endeavours. The exhibition at which the show takes place is often not on the radars of tourists, but it should be. The building, in Milan’s Piazza della Scala, is worth admiring in itself. Originally built for the bank, the imposing rooms still bear traces of commercial activity with brass counters and wrought iron clocks.

The Gallerie d’Italia has other venues in Naples and Vicenza and a collection of 30,000 works. It includes Italian artworks from the nineteenth and twentieth centuries, such as the statue of Canova on display at the Grand Tour Gallery, and Martyrdom of Saint Ursula by Caravaggio, located in the gallery of Naples. The collection also contains Attic ceramics, Magna Graecia, and Russian icons.

Preparation for Grand Tour: Dream of Italy from Venice to Pompeii The exhibition took place during two very challenging years. As stated by Michele Coppola, CEO of Intesa Sanpaolo Progetto Cultura, the exhibition for Intesa Sanpaolo represents an important message about the company’s responsibility to its community and the need for the private sector to promote art and culture in a post-pandemic society.

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