Princess Gesine Doria Pamphilj ?

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in order to visit thishousewillexist.org

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"Vanitas" at Palazzo Doria Pamphili May 21 September 25, 2011

The issue addressed by the wonderful exhibition that the Arts Society Doria Pamphili, chaired by Princess Gesine Pogson Doria Pamphili, proposed for next season exhibition Mansion Via del Corso, Rome, is undeniable, most of our.

"Vanity" is the title of the event designed by Massimiliano Floridi and directed by Frank Sinagra says, Indeed, in the hands of great artists, different aspects of one certainty: the transience of earthly things. Here, suggest their masterpieces Caravaggio, Lot, bank, Fetti, Guercino, Threats and others, The Vanity has always entitled to any vanity.

This reflection is very modern and that several members of the princely Casato had in mind. This is confirmed in their collection, the richness of works, often commissioned great artists on. These are masterpieces of painting, sculpture, decorative objects, books and music, which over the centuries became part of family heritage and provide a space for reflection on anything specific interdisciplinary a minor aspect of the European culture in modern times.

This is a particular look beyond that you can follow the development of the theme in different historical and cultural contexts, from its Christian origins and philosophical events of allegorical paintings and objects such as clocks eighteenth century, culminating in the image of time, armed with a scythe remind us of the transience of earthly life.

May 20 through Sept. 25 The event offers the opportunity to admire many masterpieces of Italian history in Europe. Lorenzo Lotto, Jusepe de Ribera, Caravaggio, Mattia Preti, Domenico Fetti, Andrea Sacchi are some names of authors who are remarkably compared.

The exhibition, which "sample" theme of the family, Cardinal Benedetto Pamphili, which, known as a lucky patron of artists and musicians, was himself a poet and wrote, among other things, the famous oratorio "The Triumph Time and Disillusionment "music for him to Georg Friedrich Handel in 1707. The rest, reflection on Cardinal Vanitas does not occur exclusively in the production of librettist, but also in the collection of art he collected testimony and that remains today is preserved.
sara, then Cardinal Benedict virtually to receive and accompany the visitor to the exhibition, then given a historical context to guide the viewer into the subject analysis.

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Four themed sections representing the multiplicity of issues Vanitas.

The first section is dedicated paint type and presents a selection of still lifes, It is well known, formed a symbolic ploy often adopted by painters to allude to the transience of life. In Doria Pamphili collection are several pieces of painting of this type and archives confirm the particular propensity of Cardinal Benedetto and other members of the dynasty of these subjects. Dinner tables, trays of ripe fruit, game stacked and carefully described by the naturalism of the paintings of the seventeenth and eighteenth century, which are subjected to effectively undertake the task of remembering the viewer with uncertainties.

Regarding PART secular subjects are left to meet the religious origins of the theme. In fact, many are exposed to images of St. Jerome, the learned saint who translated the question Ecclesiastes in the Latin world the concept of Vanitas. Concerning the provision of collections of the eighteenth century Palazzo Doria Pamphili in Rome of the family occur, In consideration of St. Jerome, baroque images of Mary Magdalene with its renunciation of transient values ??of feminine vanity embodies a shade different from overcoming the transience of worldly things. outstanding masterpieces, like St. Jerome by Ribera and Mary Magdalene by Caravaggio.

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The next section, devoted to portraiture, which is also the richest and presents a selection of paintings with allegorical elements such as skulls, clocks, flowers and coffins. The exhibition is enriched by a series of portraits and busts of ancient philosophers who witnessed the power that the theme of Vanitas had over its alleged philosophical roots, achieving a genuine genre in vogue in the seventeenth century.

To accompany the exhibition, in addition to the tunes händeliane compositions and texts by Cardinal Benedetto, will be a selection of watches, relics, small decorative objects, prints and books that for centuries they act as memento mori and palaces the chapels of the family.

But just because nothing lasts forever, life is here to give joy, banish sadness and grief. "Vanity" could, in fact, be read as an invitation to fully live the present, we choose the best offer, that the same Benedetto Pamphili fact, to devote his life to art, music, entertainment and literature. The last question siégerUne is then devoted his Cardinal and his ephemeral poetic. A passion shared by many other members of the House, as confirmed by the splendid art collections that are most important Palazzo Doria Pamphili "house museum" Private Rome.

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The ideal nature arrives at the Grand Palais

After Monet, the exhibition of superlatives, the Grand Palais in Paris tent with Nature and the unknown ideal. The opportunity to discover the landscape painting of the seventeenth century in Rome. This is not a foregone conclusion to draw crowds with such a subject, despite the efforts deployed scenic picture rails in bright red, contrasting with the landscapes of idealized Roman countryside. Between 1600 and 1650, Rome was the crucible of contemporary art in the Europe.Parmi 33 artists in the exhibition, only two are from Rome, others come from Germany, France, Spain, Flanders , Italy. 80 paintings and thirty drawings show the emancipation of landscape painting, which at that time became a genre in itself. Until now, our view of nature is permeated by these paintings of Annibale Carracci, Paul Bril, Nicolas Poussin and Claude Lorrain. Interview with Stéphane Loire, chief curator of the exhibition.

RFI: A young accustomed to video games, touch screens, interactive images, digital art, which enters in this exhibition and see the landscape of a pure academic, painted in the seventeenth century, he will be shocked, stunned and gaping?

Stéphane Loire: These tables are not boring because they all have an ideal vision of nature, a vision restored by painters who were present in Rome in the first half of the seventeenth century. They are often paintings that tell a story. The painters of the seventeenth century were often painted landscapes by peers, a set of four, to tell a story, to have a narrative that unfolds in several ways.

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RFI: In your opinion, was the cinema of the era, with dramas, documentaries, series?

SL: We'll see, for example in the exhibition three paintings depicting the story of Latona. This is one of the stories of Ovid's Metamorphoses. This is the story of Leto, the daughter of Jupiter when the peasants had refused to drink from a puddle when she was in her arms her two children. Latona, to punish them, deprived them of their magical power by transforming the Lycian peasants into frogs. We see three tables in the exhibition peasants, some of which are already transformed into a frog, among others, the transformation is underway. In each of these three tables, the scene takes place in a very different landscape in the solar light, inspired by Rome. Landscapes that provide a framework quite happy to do this action while tragique.RFI: Is it a coincidence or the result of technological revolutions that the history of landscape painting really began at that time?

SL: We are quite misinformed about the knowledge that the painters might have regarding technological change. The early seventeenth century in Italy see, for example the invention of the telescope. Galileo was condemned by the Inquisition because he had put into question the theory of motion of the stars that the earth was the center of the world. There are some very interesting scientific theories, especially in the approach very precise and attentive to the reality of nature found in the paintings of Adam Elsheimer. There is certainly a parallel to that vision scientists who discovered a new attention to the nuances of vegetation, the nuances of the impact on the sun. So there may be implications of changes in scientific thinking about the artists.

RFI: Revolutions ideological-they also played a decisive role?

SL: The transformation of spiritual thought is undeniable. Including the evolution of religious thought and the role that the Catholic Church recognizes the arts. It redefines the role accorded to the arts by giving rules for representing religious subjects. In parallel, it leaves the freedom for artists to represent nature, works that highlight God's creation, but also allow artists to represent nature in a new way in giving more importance in the paint through both sets painted in Roman palaces in paintings such as those present in the exhibition.

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RFI: At the beginning of the exhibition, there are two landscapes by Annibale Carracci. The sacrifice of Abraham in portrait, landscape River landscape format. Is landscape painting has changed formats paintings used in the paint?

SL: What is certainly new in the seventeenth century is the fact that landscape painting has become a commercial object. The artists performing small-format paintings they have in their workshop. They can sell them to fans of passage and they receive orders tables. Sometimes, especially in Claude Lorrain, the representation of nature can hold very large canvases by size, because the sponsors were important people: the Pope, the King of Spain, characters capable of paying high prices for paintings. The sponsors felt that landscape painting deserved to be included in their collection, as well as the table of figure used to be considered more difficult to paint.

RFI: When we see today a modern painting or a contemporary landscape photographer, can I still see the traces left by the approach of landscape painting of the seventeenth century in Rome? SL : The tables are painted in Rome certainly conditioned the vision we have of nature. A landscape is a piece of reality, seen through a kind of window, with a more or less wide, with plans more or less close. In the seventeenth century, artists have experimented with different ways to represent nature. Although it was usually with the desire to transcribe a quest for the ideal that is a very strong element in the artistic thinking of this period. But there in the exhibition of the works certainly have very heavily influenced artists for generations to come, to Picasso, to artists of our time, yet whose mind has been - perhaps sometimes unwittingly - conditioned by this vision of nature as seen in these landscapes Roman exposure.

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The flight into Egypt, made around 1603, "true founding document of classical landscape," according to Commissioner Stéphane Loire, should be the centerpiece of the exhibition and ideal Nature. A trial before the Italian courts decided otherwise. He opposes the heirs Doria Pamphili, who had to swear that work. The Doria Pamphili is a noble Italian family that has a remarkable collection of paintings (Raphael, Caravaggio, Titian, Velasquez). Adopted children of Orietta Doria Pamphili, who died in 2000, tear since 2007 on the question of the future transfer of assets to grandchildren. Daughter, Gesine, 46, wife of an art expert and mother of four children, is opposed to his brother Jonathan, Gay said, who has two young children born to surrogate mothers different, one from Kansas, the the other in Ukraine. But the Italian law does not recognize this type of fertilization. She acknowledged, however, the rights of the person who carried the pregnancy to term. Lawyers for Gesine Doria Pamphili argue that there is a risk that surrogates call one day from an inheritance and therefore the tables. The princess brought a lawsuit for "denial of paternity 'against his brother so that the children of the latter can not inherit the fortune of the Doria Pamphili. Until the decision of the Civil Court of Rome, the works, including The Flight into Egypt, can not leave the Galeria Doria Pamphili.

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