Massimo Cacciari, 'Thauma istante' at Cinema Fulgor

Massimo Cacciari, 'Thauma istante' at Cinema Fulgor

22 may 2015 Massimo Cacciari's conference at Cinema Fulgor

Viale Stazione 5

Capolona (Italy)

21.15 pm


National Gallery of Art :: Exhibitions :: 2015 :: Power and Pathos: Bronze Sculp

National Gallery of Art :: Exhibitions :: 2015 :: Power and Pathos: Bronze Sculpture of the Hellenistic World



Power and Pathos: Bronze Sculpture of the Hellenistic World

December 13, 2015 – March 20, 2016


Overview: Some 50 bronze sculptures and related works survey the development of Hellenistic art as it spread from Greece throughout the Mediterranean between the fourth and first centuries BC. Through the medium of bronze, artists were able to capture the dynamic realism, expression, and detail that characterized the new artistic goals of the period. This exhibition will feature works from world-renowned archaeological museums in Austria, Croatia, Denmark, France, Georgia, Great Britain, Greece, Italy, Spain, and the United States. The exhibition presents a unique opportunity to witness the importance of bronze in the ancient world, when it became the preferred medium for portrait sculpture.

Organized by Fondazione Palazzo Strozzi, J. Paul Getty Museum, Los Angeles, and National Gallery of Art, Washington, with the collaboration of Soprintendenza per i Beni Archeologici della Toscana.

Bank of America is proud to be the global sponsor. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.


Other Venues:  Palazzo Strozzi, Florence, March 14–June 21, 2015 The J. Paul Getty Museum, Los Angeles, July 28–November 1, 2015

Image:  Unknown Artist (Hellenestic Bronze), Wilson Poseidon (or Asklepios), 227-221 BC, bronze, The Museum of Fine Arts, Houston. Museum purchase funded by Isabel B. and Wallace S. Wilson



Power and Pathos: Hellenistic Bronzes at the Palazzo Strozzi

Power and Pathos: Hellenistic Bronzes at the Palazzo Strozzi

                                                                                                                                BY Angela  M.H. Schuster, Art+Auction |  March 21, 2015

Power and Pathos: Hellenistic Bronzes at the Palazzo Strozzi

(Left) Statuette of the Weary Herakles third century BCE or first century CE; copy of a fourth-century BCE bronze by Lysippos. (Right) Male Portrait Head 50–25 BCE. (Courtesy Palazzo Strozzi)

The florescence of the arts in the wake of Alexander the Great’s conquest of a vast swath
 of territory from Greece to the Indus Valley is the subject of “Power and Pathos: Bronze Sculpture 
of the Hellenistic World,” which opens at the Palazzo Strozzi on March 14.

On view
 are some 45 bronzes dating 
from the 4th to 1st centuries B.C. and 
later Roman works inspired by them, which attest a cosmopolitan blend of Eastern and Western artistic traditions.


Among the highlights are several pairings of works, including an early 1st-century bronze Apoxyomenos from Ephesos,
 in the collection of the Kunsthistorisches Museum in Vienna, and its later twin, sculpted in marble, from the Uffizi Gallery in Florence; two herms of Dionysos, one from Tunis and signed by the 2nd-century B.C. sculptor Boethus of Chalcedon, the other from the J. Paul Getty Museum in Malibu; and two archaic-style Apollo-Kouroi in the collections of the Louvre and the Soprintendenza per I Beni Archeologici di Pompei, respectively.

“Although all of these pairs have been shown together frequently
 in art history books, this is the very first time that any of them have been displayed side by side,” says James M. Bradburne, director of the Strozzi Palace Foundation. Bronze works from antiquity are quite rare, he adds, because so many were melted down over the centuries in order to mint coins and manufacture arms.

Most of those that have survived have come from shipwrecks, including one discovered off the coast of Mahdia, Tunisia, in 1907, and another found in the Adriatic near Brindisi in 1992. Following the Florence exhibition’s June 21 close, it will travel to the J. Paul Getty Museum in Los Angeles (July 28–November 1) and then to the National Gallery of Art in Washington, D.C. (December 6–March 13, 2016).

A verison of this article appears in the March 2015 issue of Art+Auction.


At Art Basel Miami Beach, the most impressive piece of artistry ..

At Art Basel Miami Beach, the most impressive piece of artistry is getting on the evening's guest list

      1 / 1     A dancer in the Basement at the Edition        

During the first week in December, art doesn't so much distract Miami as swallow it and South Beach is the focus of an extraordinary, week-long binge of parties, dinners, and receptions. Samuel Muston joins the queue

Samuel Muston Author Biography  

People don't so much queue as bunch. The doors to the Matador Bar are like a sluice. If you are thin enough or famous enough or just plain well-connected, you are waved through by the iPad-toting PR girls gridded across the entrance. But if you aren't... well, you get stuck in the grills, collected like drift wood.

"I am sorry, you don't appear to be on the list."

"But Jane from Rubelli said she put me on the list."

"You don't appear to be on the list."

The problem is once you have been refused entry, pride demands the battle continues, so people stand remonstrating in their best dresses and $1,000 bags.

You soon forget the door though, because Linda Evangelista just walked in, head-to-toe in black, and isn't that James Murphy? Hard to see. But that is definitely Dev Hynes. Oh look, the cocktails are coming out and they're served in bronze pineapples that are so heavy they threaten to upend that gaggle of models in the corner.

No one seems to notice though, because at Art Basel Miami Beach no one stays still enough to notice.

I am sitting in the lobby of the Miami Beach Edition hotel a day before its opening party. There is a white rug, white sofas, and a man saying: "$250,000? Play a bit of hard ball. He has money," while wearing blue pastel shorts and a purple polo shirt. I try not to listen.

There are gold pillars studded through the atrium, made of innumerable little gold tiles, which have been incorporated into the new design from its previous incarnation as The Seville Hotel. "I was up at 6am," a woman with a strangulated face is saying in a stage whisper to her mobile phone, "so I didn't really get any sleep at all."

Perky gallerists add to the backbeat noise as they direct removal men to their pop-up galleries and beleaguered PRs to their artists. Tracey Emin just walked in and Ian Schrager's phone won't stop ringing, it is loud and shrill and for a brief moment seems to block out the African drum music that is pumped into the lobby.

During this week, the first in December, art doesn't so much distract Miami as swallow it. It seems to close around the city, like water around a diver. And with it come the buyers, and sellers, and celebrities and Champagne. And above all, the money.

Over four days, the 13th Art Basel Miami Beach runs 265 galleries, each with a booth in the Miami Convention Centre. It will sell $3bn (£1.9bn) worth of art. Prices range from the plain expensive – £75,000 for a minor Keith Haring – to the star-scrapingly pricey, £22m for a work by Alexander Calder. Its location, smack bang between North and South America and eight hours from Paris and London, means it attracts more billionaires than Davos. Money talks here and it's a conversation everyone seems to be enjoying.

Giornata della Memoria, Fulgor