颁茅锄补苍苍别 and the Master Painters. A dream of Italy
From 27 February to 5 July 2020 the Mus茅e Marmottan Monet is putting on a unique exhibition titled 鈥�颁茅锄补苍苍别 et les Ma卯tres. R锚ve d鈥橧talie鈥� (颁茅锄补苍苍别 and the Master Painters. A dream of Italy) in which, for the first time, the painter鈥檚 works will be presented alongside pictures by the great Italian masters from the 16th, 17th, 18th and 19th centuries. A remarkable selection of canvases by the forerunner of Cubism, including an iconic Montagne Sainte-Victoire, and the essential Pastorale and still lifes, will thus face a rare ensemble of paintings by the likes of Tintoretto, El Greco, Ribera, Giordano, Poussin and, in the modern era, Carr脿, Sironi, Soffici and Pirandello, and of course Boccioni and Morandi.
鈥湴涿┏共圆员� et les Ma卯tres. R锚ve d鈥橧talie鈥� features some sixty masterpieces from leading public and private collections around the world (the Louvre and Mus茅e d鈥橭rsay in Paris, the National Gallery of Art in Washington, the Thyssen-Bornemisza collection in Madrid, the Pola Museum in Kanagawa, and the Walker Art Gallery, Liverpool, etc.). The first part of the exhibition will bring out the manifest importance of Latin culture in 颁茅锄补苍苍别鈥檚 work and the way in which he drew on the example of his illustrious predecessors in order to lay the foundations for his 鈥渘ew鈥� painting. Given this strong Italian influence, it is hardly surprising that his own work should in turn have influenced artists south of the Alps. This is demonstrated in the second part of the show, where works by the masters of the Novecento, such as Carr脿, and figures such as Morandi and Boccioni can be seen revisiting his concerns, thereby confirming the timeless importance of 颁茅锄补苍苍别鈥檚 work, and its pivotal role in the art of the 20th century.
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From 27 February to 5 July 2020 the Mus茅e Marmottan Monet is putting on a unique exhibition titled 鈥�颁茅锄补苍苍别 et les Ma卯tres. R锚ve d鈥橧talie鈥� (颁茅锄补苍苍别 and the Master Painters. A dream of Italy) in which, for the first time, the painter鈥檚 works will be presented alongside pictures by the great Italian masters from the 16th, 17th, 18th and 19th centuries. A remarkable selection of canvases by the forerunner of Cubism, including an iconic Montagne Sainte-Victoire, and the essential Pastorale and still lifes, will thus face a rare ensemble of paintings by the likes of Tintoretto, El Greco, Ribera, Giordano, Poussin and, in the modern era, Carr脿, Sironi, Soffici and Pirandello, and of course Boccioni and Morandi.
鈥湴涿┏共圆员� et les Ma卯tres. R锚ve d鈥橧talie鈥� features some sixty masterpieces from leading public and private collections around the world (the Louvre and Mus茅e d鈥橭rsay in Paris, the National Gallery of Art in Washington, the Thyssen-Bornemisza collection in Madrid, the Pola Museum in Kanagawa, and the Walker Art Gallery, Liverpool, etc.). The first part of the exhibition will bring out the manifest importance of Latin culture in 颁茅锄补苍苍别鈥檚 work and the way in which he drew on the example of his illustrious predecessors in order to lay the foundations for his 鈥渘ew鈥� painting. Given this strong Italian influence, it is hardly surprising that his own work should in turn have influenced artists south of the Alps. This is demonstrated in the second part of the show, where works by the masters of the Novecento, such as Carr脿, and figures such as Morandi and Boccioni can be seen revisiting his concerns, thereby confirming the timeless importance of 颁茅锄补苍苍别鈥檚 work, and its pivotal role in the art of the 20th century.
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Like all geniuses 颁茅锄补苍苍别 assimilated. Are the similarities one sees in colour, composition and light deliberate, unconscious or mere coincidence?
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