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EXPOSIÇÃO DE ARTE
Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA
Scuderie del Quirinale
dal 22-09-2017 al 21-01-2018
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  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale
  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale
  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale
  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale
  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale
  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale
  • Picasso. Tra Cubismo e Neoclassicismo: 1915-1925 - SALTAFILA - Scuderie del Quirinale


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Pablo Picasso. Between Cubism and Neoclassicism: 1915-1925 on display in Rome at the Stables of the Quirinal, from 21 September 2017. It is February 1917 and Europe is raging with the Great War. Pablo Picasso, who is only 36 years old but is already the great painter who led the Cuban revolution, arrives for the first time in Italy. Hundreds of years after that journey that marked his art as well as his private life (just in Rome, while he was acquainted with the costumes and scenes for the Ballets Russes of Diaghilev, he met Olga), the Quirinale Stables celebrate Pablo Picasso with a great shows that concludes the events, open in spring, dedicated to the great tour of the Spanish artist in our country.
The exhibition titled "Picasso. Between Cubism and Classicism 1915-1925 "collects a hundred masterpieces exhibited and chosen by curator Olivier Berggruen in collaboration with Anunciata von Liechtenstein, with outstanding museums and collections, from the Musée Picasso and the Center Pompidou of Paris to the Tate of London, from MoMa and the Metropolitan Museum of New York to Berlin Museum Berggruen, from the Fundació Museu Picasso in Barcelona to the Guggenheim of New York. The exhibition will focus on the method of the pastiche, analyzing the ways and procedures by which Picasso used it as an instrument in the service of modernism, on a journey from realism to the abstraction of the most original and extraordinary of the history of modern art ...

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The exhibition will illustrate the experiments conducted by Picasso with different styles and genres: from the play of decorative surfaces in collages, performed during the First World War, to stylized realism of the "Diaghilev years", from still life to portrait.
At Palazzo Barberini, in the grandiose salon frescoed by Pietro da Cortona, the curtain depicted for Parade will be exhibited for the first time in Rome, an immense 17 meter long and 11-inch canvas. Bernini's architecture will be the cornice for a an exciting dialogue between Picasso's work and the great baroque fresGreat exhibition in collaboration with the Center Pompidou in Paris, the Berggruen Museum in Berlin, the Fundació Museu Picasso in Barcelona, ​​the Guggenheim, the Metropolitan Museum in New York and the National Galleries of Ancient Art in Rome. The exhibition, which will display more than 100 works by the artist, will deepen Picasso's production immediately after the Italian experience, documenting the long-term impact of this trip on its formation: from the neoclassical suggestions inspired by ancient sculpture to the Roman Renaissance , until the discovery of the parietal painting of Pompeii.
The exhibition also includes the exhibition of the Parade curtain in the Palazzo Barberini's Pietro da Cortona salon.
Curated by Olivier Berggruen, the exhibition proposes to recall, a hundred years later, the trip Picasso (1881-1973) performed with Cocteau and Stravinsky in the company of Sergei Djaghilev's Russian Ballets Company during which (among other things) the artist would have known and would fall in love with Olga Kochlova, the first ballet dancer and his first wife. Less than eight weeks (February 17, 1917) that would be crucial for the development of Picasso's art, a Grand Tour that would confront him with the great ancient art (Roman and Etruscan), but also with the culture " popular "(that of puppet shows, postcards with young women in traditional costumes) and with the ferments of Futurism.

A hundred exhibited masterpieces (provided by great museums such as the Picasso of Paris and the Metropolitan of New York): from Olga's portrait in armchair to Paul's, their son, dressed in Arlecchino; from Italian to Still Life Guitar, Bottle, Fruit, Plate and Glass on Table; from Pan The Flute Two Women Run On The Beach. With a strong piece. The curtain for the Parade ballet (and for Djaghilev's company): a large canvas (more than 10 meters for over 16), usually kept at the Center Pompidou and already exhibited in Italy in 1998 at the Picasso exhibition 1917-1924 in Venice, at Palazzo Grassi. It will not be at the Scuderie (in terms of size) but in the nearby Palazzo Barberini, under the vaults of the great room frescoed by Pietro da Cortona with the Triumph of Divine Providence (1632). "A great opportunity - explains curator Berggruen - to compare the modernity of Picasso with the great Italian Seicento". The Stage Show is part of the Picasso-Mediterranée project launched in 2015 by the Musée Picasso in Paris and its president Laurent Le Bonco.
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