The catalog of the exhibition was presented at the ' opening of the September 7, 2008. E 'can still book it on the internet site of the publisher "The Sixteenth" .
Administration I am honored to preside over municipal, in collaboration with the Accademia di Belle Arti in Florence, presents the second consecutive year, the result of the project "The land of Chiusdino painted and hung at the window."
The initiative has involved a group of students from the school of Florentine painting of the Institute prof.Adriano Children who chose the places of our territory as subjects of painting places that belong to us and are now within six months which these young artists have stayed with us, even their places, places of their feelings and their affection.
We saw these young men turn in our streets, first with frightened eyes and curious tourists, then surprised to observe and draw the most secret recesses of our territory, and to establish on paper and canvas the emotions. Simultaneously, the initial normal chiusdinesi distrust of those who are different from us, alien to our everyday life, has turned into friendship, and perhaps even affection.
These guys today are also our children-artists, who have learned to love the village and are now chiusdinesi adoption.
A major credit for the success of the initiative is in fact the ability to welcome again the chiusdinesi have shown, but above all in work, passion and dedication with which the prof. Children followed the course of the event, while the critical task the prof. Alberti moved me for the intense participation which has marked the work of young people.
Special recognition goes to the whole course that the Town Council has supported the event again this year, taking responsibility to solve, together with the Mayor, all problems large and small expected and unexpected events that occurred.
It is hoped that this collaboration with the Accademia di Belle Arti in Florence, with its director Giuseppe Andreani and prof. Adriano Bimbi can continue in the future with other projects and new initiatives.
The initiative has involved a group of students from the school of Florentine painting of the Institute prof.Adriano Children who chose the places of our territory as subjects of painting places that belong to us and are now within six months which these young artists have stayed with us, even their places, places of their feelings and their affection.
We saw these young men turn in our streets, first with frightened eyes and curious tourists, then surprised to observe and draw the most secret recesses of our territory, and to establish on paper and canvas the emotions. Simultaneously, the initial normal chiusdinesi distrust of those who are different from us, alien to our everyday life, has turned into friendship, and perhaps even affection.
These guys today are also our children-artists, who have learned to love the village and are now chiusdinesi adoption.
A major credit for the success of the initiative is in fact the ability to welcome again the chiusdinesi have shown, but above all in work, passion and dedication with which the prof. Children followed the course of the event, while the critical task the prof. Alberti moved me for the intense participation which has marked the work of young people.
Special recognition goes to the whole course that the Town Council has supported the event again this year, taking responsibility to solve, together with the Mayor, all problems large and small expected and unexpected events that occurred.
It is hoped that this collaboration with the Accademia di Belle Arti in Florence, with its director Giuseppe Andreani and prof. Adriano Bimbi can continue in the future with other projects and new initiatives.
Mayor
Luciana Bartaletti
The relationship between art and territory is one of the hot topics of the contemporary cultural debate because of the questions posed by industrial society and technologically advanced in order for the production, preservation and conservation of artistic heritage, with a subtitle on the important issue of the relationship between aesthetics and urban design, just the idea of \u200b\u200ba return to humanism, which also involves a new quality of life, a different environmental compatibility, a new concept of vivivbilità, after the perpretati havoc on a certain level of socio-economic development on the natural reality as well as on artificial complex and often uncontrolled urban development and construction that characterizes the great cities of 900.
All the better when this ratio goes through the province that somehow can still be a protected area, where the historical and social fabric is a network of strong guarantee of territorial and cultural ability to filter and settle the necessary draft transformation into a kind of continuity not only of time between the past and the future. The City of
Chiusdino is a specific case of this oasis of Tuscany, at the crossroads of the Val di Merse and the Metalliferous Hills, which combines the magic of medieval events - from the hermitage of Montesiepi and the Abbey of San Galgano - with the enduring charm and generosity of the fertile hills of Siena, the ochres hours of sunny hours misty lands, changing colors and scents of the fields, as far as the eye, in different seasons, the stone village perched guardian "closed" and jealous of historical heritage shared with the Lords of Volterra and Siena, first, with the Medici and Lorraine Florence, then. On this passage
identity art project that has been triggered this year's school prof. Adriano Bimbi has specially designed a work of urban decoration inspired by a revival of landscape painting - The land of Chiusdino - on which he worked on the spot, from January to May, a group of 12 young artists, guests at the guesthouse of the monastery of S. Galgano.
The study of nature in every aspect and in its details, even in the artificial nature of the innermost recesses, wrinkles and alleys or noble and important architecture has become the subject of artistic production, sketches, drawings, paintings. But
further classified the original action, because the works are not developed and produced simply become material collected in an exhibition, but were infused directly within the village, becoming an integral part of urban quality in order to offer a kind of continuity between landscape painting and the architectural layout of the village. Each site has been designed to become the new site of expression made by the mysterious artifice of painting: it is sufficient to cover the alleys and streets of Chiusdino or look out the windows, or lean on a hill, to meet directly with the suggestion made in the artistic views of nature surrounding plants, flowers, rows of trees, wheat fields, hills and farms. At the end
Chiusdino has become a new territory of art, began to take on the appearance of a real open air museum. Now a final step missing: the paintings could soon take the final appearance of frescoes or murals to become part of the fabric of the historic town of Siena.
complex operation, but, knowing the determination of the Mayor - I thank you very much for the intellectual effort which has built the relationship with the Academy of Florence - is absolutely possible.
Professor. Children and young artists of the project, together with the critical task prof.sa Alberti, showed once again the quality of the ideas which the Institute Florence knows how to put on the field. In their honor and praise for their achievements.
Luciana Bartaletti
............................................. ...........................................
The relationship between art and territory is one of the hot topics of the contemporary cultural debate because of the questions posed by industrial society and technologically advanced in order for the production, preservation and conservation of artistic heritage, with a subtitle on the important issue of the relationship between aesthetics and urban design, just the idea of \u200b\u200ba return to humanism, which also involves a new quality of life, a different environmental compatibility, a new concept of vivivbilità, after the perpretati havoc on a certain level of socio-economic development on the natural reality as well as on artificial complex and often uncontrolled urban development and construction that characterizes the great cities of 900.
All the better when this ratio goes through the province that somehow can still be a protected area, where the historical and social fabric is a network of strong guarantee of territorial and cultural ability to filter and settle the necessary draft transformation into a kind of continuity not only of time between the past and the future. The City of
Chiusdino is a specific case of this oasis of Tuscany, at the crossroads of the Val di Merse and the Metalliferous Hills, which combines the magic of medieval events - from the hermitage of Montesiepi and the Abbey of San Galgano - with the enduring charm and generosity of the fertile hills of Siena, the ochres hours of sunny hours misty lands, changing colors and scents of the fields, as far as the eye, in different seasons, the stone village perched guardian "closed" and jealous of historical heritage shared with the Lords of Volterra and Siena, first, with the Medici and Lorraine Florence, then. On this passage
identity art project that has been triggered this year's school prof. Adriano Bimbi has specially designed a work of urban decoration inspired by a revival of landscape painting - The land of Chiusdino - on which he worked on the spot, from January to May, a group of 12 young artists, guests at the guesthouse of the monastery of S. Galgano.
The study of nature in every aspect and in its details, even in the artificial nature of the innermost recesses, wrinkles and alleys or noble and important architecture has become the subject of artistic production, sketches, drawings, paintings. But
further classified the original action, because the works are not developed and produced simply become material collected in an exhibition, but were infused directly within the village, becoming an integral part of urban quality in order to offer a kind of continuity between landscape painting and the architectural layout of the village. Each site has been designed to become the new site of expression made by the mysterious artifice of painting: it is sufficient to cover the alleys and streets of Chiusdino or look out the windows, or lean on a hill, to meet directly with the suggestion made in the artistic views of nature surrounding plants, flowers, rows of trees, wheat fields, hills and farms. At the end
Chiusdino has become a new territory of art, began to take on the appearance of a real open air museum. Now a final step missing: the paintings could soon take the final appearance of frescoes or murals to become part of the fabric of the historic town of Siena.
complex operation, but, knowing the determination of the Mayor - I thank you very much for the intellectual effort which has built the relationship with the Academy of Florence - is absolutely possible.
Professor. Children and young artists of the project, together with the critical task prof.sa Alberti, showed once again the quality of the ideas which the Institute Florence knows how to put on the field. In their honor and praise for their achievements.
Director
Giuseppe Andreani
Giuseppe Andreani
FLORENCE - CHIUSDINO. San Galgano - FLORENCE
Adriano Bimbi
To go from Florence to Chiusdino just take the freeway to Siena. He leaves behind Porta Romana and cross all Galluzzo; on right is the crowning his Certosa Hill like a king and so on, up to Colle Val d'Elsa. There, in the south, you exit Follonica, 82 km. Then, all straight, it flows down to the Middle Ages first occasion wanted me to do this road in all seasons, with winter cold and summer heat with summer. I traveled in whole under a tremendous thunderstorm, lightning and thunder at will. I met her in the evening, the dark, where I met a superb that hedgehog, terrified by the headlights of my car, 'he bet all his quills, as spears were terrible. Away, away ... run, run! I expected my students painters! They will all be there, intent to put their things in order, choose the best work to show me. In the morning this way, if you do a little 'attention, points out stories. Long straights between the cultivated fields, houses and towers scattered there, with geometries perfect, we slip into memories that reason does not recognize but to which, however, you feel, by instinct, to belong. At the junction for Rosia can happen that you can see a different century, the of agrarian reform. Poplars, arranged in rows along the banks, mark the boundary between the fields of golden ocher ripe wheat. It has an enormous work cut tractor to reap all that grain. Tomorrow's another year, when I return Here, I am sure, that grain will be there, more gold than ever, in spite of all the saints. Then, as sudden appearance at the crossroads for Grosseto, a strange road sign, a monument above a base of travertine, surmounted by an iron ball a quadrangular spikes pointing to the sky. Below, recorded on the same stone, with characters elegance of another era, the Florence-Siena-Grosseto. Shooting straight up the hills, is a bustle of switchbacks through the woods of oaks, the wheels crush the shadows in patches of branches of trees drawn on the asphalt from the sun. A light curve opens, the other follows the dark, following one another so, swing, as a matter of fact, of course, as my thoughts without a goal. Later, by hill, the castle of Frost, as printed on an old postcard thirties with fringed edges and retouched in color. In enormous villa, we can count, have data conference Soft, Papini and companionship. But No, no, what nonsense!
Shortly before, there is an old shop on the ground floor of a cottage stonacato all, with out, such as complaints, a handwritten sign: "Sandwiches with roast pork." It is a dim memory that of a time where there was a everything from nails to civaie, salt tobacco, cod and Norwegian cod. Other than the supermarket! There not paid, it marked everything on a notebook with the black glaze.
I have it with the mayor, damn me, I accepted this work without considering the distance nor the sacrifice that these guys have to do to live there. But who made me do! Damn all damn me and the painting! Then, the last turn, and new fields wide, open, bright light reflected from the sunflowers. There, San Galgano ... I arrived. Parking the car in the space reserved for the restaurant and bar. There is a living soul. Within, I order a coffee I served with unusual indifference, pay and go. Of front, at the bottom of the avenue of cypresses, the carcass of the abbey that with his severe magnificence stands between sunflower fields. Around the country, with hills on background, calm, bear this casually bulky memory. A little further on, on a hill, Hermitage Monte Siepi marked with red circles in the dome their longings for the infinite. I start walking slowly; one of my leg after an accident has happened to me, goes where it wants, so the other hard twice to hold the position. Trudges straight. Close the facade of the Abbey, beside the main door, that opened only for important ceremonies, I guess me and I aim to beg. Where Are They Now all those devotees who were pouring in that remote time there to pray? That are flown in from the roof sky background? Right, after the apple tree, after all, the door of guest, Andrea with Louise Nicholas and I expected to do not know how long. I welcome you with a smile ro, best greetings. Professor, is the whole morning the wait! They are all about, she says Nicholas, inviting to enter. At the entrance, after the gate, a large-scale brick placed a "knife" introduces us in the accommodation above. On the right, local service, recently restored and occupied by them and to the left, the cells monks, uncut, as always. Real us just us in a big room lined with huge studies, sketches, sketches, drawings, photographs and retouched photographs. We talk, we talk and perhaps, occasionally, some light burns. Their enthusiasm is overwhelming, try one of the my reasoning to the extent that needed to trace the most profound and inevitable disappointments. I turn and see the open door down the hall to the other, that cell over there, in dead silence. I think the monks are tired of all that our shouting. Ayako has prepared lunch, a soup mushrooms. Rachel, Nicola and Silvia have make ready as best. Marianne and Matt are busy in some task. Peter does not shoot all that what he sees. It's late, I had long past two in the afternoon. I just have to say goodbye. But they kindly invited me to stay and I gladly accept. Francis has served the soup, Yulia has it that the mayor is a saint for me. Elisa is not able to come, I do not know why. Claudio favorite days earlier, Turkey and gone gone. I Pope dined with the mushroom soup, in a first-class company. From the kitchen window Chiusdino seen perched there on the hill, like an owl on eater. I picture all painted in brilliant colors , as the ancient ones. If only for a moment, I could see it as it was, in all its splendor! It's late, too late, I have to leave. Reluctantly greeting all and slowly I'm gone. I leave behind me lived a whole day I filled my head to Casole d'Elsa. Here I take a break, bought a bottle of water and cheese, I say curdled cold for dinner to share with my wife . Colle Val d'Elsa, Florence is a breeze. Now I know, but I knew it before, that this, in fact, has sense and certainly an end to satisfy the need feel all human life on the run , whatever it is. Those students, faithful to the principle to sing what they know, just that they are doing, and shape, there in that holy place that seems in its changing beauty in what they believe more deeply.
Shortly before, there is an old shop on the ground floor of a cottage stonacato all, with out, such as complaints, a handwritten sign: "Sandwiches with roast pork." It is a dim memory that of a time where there was a everything from nails to civaie, salt tobacco, cod and Norwegian cod. Other than the supermarket! There not paid, it marked everything on a notebook with the black glaze.
I have it with the mayor, damn me, I accepted this work without considering the distance nor the sacrifice that these guys have to do to live there. But who made me do! Damn all damn me and the painting! Then, the last turn, and new fields wide, open, bright light reflected from the sunflowers. There, San Galgano ... I arrived. Parking the car in the space reserved for the restaurant and bar. There is a living soul. Within, I order a coffee I served with unusual indifference, pay and go. Of front, at the bottom of the avenue of cypresses, the carcass of the abbey that with his severe magnificence stands between sunflower fields. Around the country, with hills on background, calm, bear this casually bulky memory. A little further on, on a hill, Hermitage Monte Siepi marked with red circles in the dome their longings for the infinite. I start walking slowly; one of my leg after an accident has happened to me, goes where it wants, so the other hard twice to hold the position. Trudges straight. Close the facade of the Abbey, beside the main door, that opened only for important ceremonies, I guess me and I aim to beg. Where Are They Now all those devotees who were pouring in that remote time there to pray? That are flown in from the roof sky background? Right, after the apple tree, after all, the door of guest, Andrea with Louise Nicholas and I expected to do not know how long. I welcome you with a smile ro, best greetings. Professor, is the whole morning the wait! They are all about, she says Nicholas, inviting to enter. At the entrance, after the gate, a large-scale brick placed a "knife" introduces us in the accommodation above. On the right, local service, recently restored and occupied by them and to the left, the cells monks, uncut, as always. Real us just us in a big room lined with huge studies, sketches, sketches, drawings, photographs and retouched photographs. We talk, we talk and perhaps, occasionally, some light burns. Their enthusiasm is overwhelming, try one of the my reasoning to the extent that needed to trace the most profound and inevitable disappointments. I turn and see the open door down the hall to the other, that cell over there, in dead silence. I think the monks are tired of all that our shouting. Ayako has prepared lunch, a soup mushrooms. Rachel, Nicola and Silvia have make ready as best. Marianne and Matt are busy in some task. Peter does not shoot all that what he sees. It's late, I had long past two in the afternoon. I just have to say goodbye. But they kindly invited me to stay and I gladly accept. Francis has served the soup, Yulia has it that the mayor is a saint for me. Elisa is not able to come, I do not know why. Claudio favorite days earlier, Turkey and gone gone. I Pope dined with the mushroom soup, in a first-class company. From the kitchen window Chiusdino seen perched there on the hill, like an owl on eater. I picture all painted in brilliant colors , as the ancient ones. If only for a moment, I could see it as it was, in all its splendor! It's late, too late, I have to leave. Reluctantly greeting all and slowly I'm gone. I leave behind me lived a whole day I filled my head to Casole d'Elsa. Here I take a break, bought a bottle of water and cheese, I say curdled cold for dinner to share with my wife . Colle Val d'Elsa, Florence is a breeze. Now I know, but I knew it before, that this, in fact, has sense and certainly an end to satisfy the need feel all human life on the run , whatever it is. Those students, faithful to the principle to sing what they know, just that they are doing, and shape, there in that holy place that seems in its changing beauty in what they believe more deeply.
CHIUSDINO THE LAND OF THE PAINTED AND HUNG WINDOW
Rosella Alberti
The word immediately conjures up landscape trees, plants, flowers, beautiful scenery, captivating sunsets. Each of us wants a beautiful landscape in the house "kind of the richest, the most pleasant and most fruitful of painting "as it was defined by Diderot and D'Alembert, under the eighteenth century Encyclopedie. Certainly the landscape is, of all kinds of painting, which suggests that moods and feelings of extraordinary immediacy. Without entering, in this specific occasion, the substance of a discourse that could prove far more challenging than I suspected, I would simply recall that, in modern times, the landscape as a genre was born much later than the oldest sacred painting. We must get to the fourteenth century to find the first timid presence of natural elements incorporated into illegally works on sacred subjects.
attention to the landscape there is already in search of the fourteenth century Sienese (Lorenzetti), in the Venetian style landscape, in the synthesis of prospetticoluministica Piero della Francesca, Leonardo in the gradient just to mention but a few key moments of the background of a genre that will be encoded in the seventeenth century and that essentially began as a "discovery of the world."
are the Dutch in the seventeenth century, the first to excel in the representation of landscape (van Ruysdael), while in Italy the Carracci look to nature and landscape, but with eye and classical sensibilities. Just from the lesson will start the Carracci the need to bend too representation to the urgent nature of idealizing, which tends to inform himself of the whole culture of the time and that will become the undisputed master of Poussin several generations until the nineteenth century.
In Italy, half of the "grand tour" (considered essential travel to the training of artists and intellectuals so that they could complete their education in direct contact with the monuments of classical antiquity) come together artists from across Europe and the end appreciate this country, even the mild climate, the particular light, the colors of nature that does not save loads of composition and color. Slowly the landscape wins autonomy as never before, and sketches travel notes and approaches become essential for the further development of more complex paintings.
part of the eighteenth-century culture will rise to the phenomenon of "landscape painting" that reached the highest achievements in Canaletto, Bellotto and Guardi, while the nineteenth century is open to the vision of the landscape and nature, related to the temperament of the artist . So the English will find Verant Turner and Constable, on the German Friedrich, the first experiments on the French en plein air by Corot and the Barbizon School to Impressionism, which will lead to leaks and Gauguin to the uncorrupted Pacific islands.
The tendency to individualism is accentuated in the twentieth century. Now the representation of the landscape is increasingly involved in the interpretation of the environment surrounding the artist's personality so as to give rise to the definition of "landscapes of the soul" whose expression involves other languages \u200b\u200bsuch as poetry and music.
Then the second half of the twentieth century interest in the landscape becomes rooted in environmental issues (Land Art): by the artist goes to the direct representation of nature on it (Dani Karavan, Richard Serra, etc.). The margin between aesthetics and ethics becomes more and more light enters the art appraisal of the substantive reality natural and man continues to manipulate with great perseverance, often with tragic results. Landscape painting seems out of fashion .... But ... ...
We are in Tuscany, a privileged place where, in the mid nineteenth century, in view of pre-unification ferment - at first only local but subsequently intended to have national resonance - feeding a cultural climate that allows' statement about, 1860, a coterie of intellectuals and artists who, inspired by the landscape of the Neapolitan school directed by van Pitloo, they begin to experience the outdoor studio, with the preparation physical landscape, devoid of strong compositional solidity of this rhetoric in contemporary painting and yet imbued with a lyricism suspended again by the fifteenth-century Tuscan tradition, and subsequently investigated more closely in the work of metaphysical Carrà.
Since 1861, this Tuscan squad will be given the name "macchiaioli", a term endorsed by the theoretician of the movement, Telemaco Signorini, as the purpose of the group was not so much the search form, as the yield impressions from the truth through the juxtaposition of areas of color, "spots". It will be the leading representative of Macchiaioli, Giovanni Fattori (of which this year marks the centenary of his death), the alternation of the seasons to take the old breath of ancient rural culture: he must in fact that attention to the "true nature" which refers to the scientific method in the fourteenth century study of applications, such as Leonardo, the structure of a leaf or cloud in the sky.
The Florentine countryside near Castiglioncello Piagentina and where he lived the critic Diego Martelli are the places from which it takes the life work of these artists. And we're not far from Chiusdino, propagini the first of the Tuscan Maremma, where "the tamarisk salt are bent Wind south-west. "
But it is mainly the work of Silvestro Lega, which we feel the call to the great Tuscan painting of the early Renaissance and especially the sacredness of silence metaphysical Piero della Francesca in studying in depth the structure.
Only later, in the eighties, the Macchiaioli approach the poetic nature of Impressionism, preferring the light to the swarming reserved silence of the fifteenth-century tradition.
this story comes from the experience of twelve young artists of the School of painting prof. Adriano Bimbi Accademia di Belle Arti in Florence who lived and stayed for several months in the land of Chiusdino to develop and produce an art project and now present the results of this experience, centered on the idea of \u200b\u200b"discovering" the lands of Chiusdino pictorially, capture color, light, emotions, and present in the same country roads in a route specifically identified.
Each young person has tried to stand against the second place in an original specifications sensitivity, the different intention of painting, the difference in expressive ability, the personal psychological and emotional approach.
So some were taken from the village, the mysterious charm of its streets, from the details some views and the scent of the story emerging from them, even the poetry of some urban and architectural artifacts (Marianna Matteo Rosi and Benetazzo, Elisa Zadi).
Others were attracted by tying them to particular places but temporal situations, different times of day or seasons of the scan (Nicoletta Gemignani, Silvia Baldocchi), which has allowed them to resubmit their contexts, creating a sort of fifth stage in where the country ends up exposing himself.
Chiusdino But not only houses, streets, alleys, squares and history is also nature, woodlands and fields of wheat, sunflowers, olive groves and orchards, valleys of stubble, distances of packages and horizons of heaven. And color schemes, which have enchanted atmosphere of light Ayako Harashima, sensitivity and the eastern line of color, and Francesco Rosati modern interpreter of the Tuscan tradition.
Finally what about the most intimate close-up look to take over the embarrassing and ugly, unspeakable beauty hidden in the detail: these are the work of Yulia Knish, Rachel Niccoli, Luisa Spataro.
far light, color, vision is fulfilled.
Yet live Chiusdino involves other senses, and as if by magic, these young artists discover the sounds and the sounds of this ancient country: it is the music of a waterfall that falls with strength and sculpting the wood matrix of Nicholas Barbagli, or harmony of a gentle breeze that expands the image of a landscape that expands and also invaded the village (Andrea Ornan).
short, "landscapes" is still a challenge and an art history is not over yet (at least until the man wants to protect this kind).
attention to the landscape there is already in search of the fourteenth century Sienese (Lorenzetti), in the Venetian style landscape, in the synthesis of prospetticoluministica Piero della Francesca, Leonardo in the gradient just to mention but a few key moments of the background of a genre that will be encoded in the seventeenth century and that essentially began as a "discovery of the world."
are the Dutch in the seventeenth century, the first to excel in the representation of landscape (van Ruysdael), while in Italy the Carracci look to nature and landscape, but with eye and classical sensibilities. Just from the lesson will start the Carracci the need to bend too representation to the urgent nature of idealizing, which tends to inform himself of the whole culture of the time and that will become the undisputed master of Poussin several generations until the nineteenth century.
In Italy, half of the "grand tour" (considered essential travel to the training of artists and intellectuals so that they could complete their education in direct contact with the monuments of classical antiquity) come together artists from across Europe and the end appreciate this country, even the mild climate, the particular light, the colors of nature that does not save loads of composition and color. Slowly the landscape wins autonomy as never before, and sketches travel notes and approaches become essential for the further development of more complex paintings.
part of the eighteenth-century culture will rise to the phenomenon of "landscape painting" that reached the highest achievements in Canaletto, Bellotto and Guardi, while the nineteenth century is open to the vision of the landscape and nature, related to the temperament of the artist . So the English will find Verant Turner and Constable, on the German Friedrich, the first experiments on the French en plein air by Corot and the Barbizon School to Impressionism, which will lead to leaks and Gauguin to the uncorrupted Pacific islands.
The tendency to individualism is accentuated in the twentieth century. Now the representation of the landscape is increasingly involved in the interpretation of the environment surrounding the artist's personality so as to give rise to the definition of "landscapes of the soul" whose expression involves other languages \u200b\u200bsuch as poetry and music.
Then the second half of the twentieth century interest in the landscape becomes rooted in environmental issues (Land Art): by the artist goes to the direct representation of nature on it (Dani Karavan, Richard Serra, etc.). The margin between aesthetics and ethics becomes more and more light enters the art appraisal of the substantive reality natural and man continues to manipulate with great perseverance, often with tragic results. Landscape painting seems out of fashion .... But ... ...
We are in Tuscany, a privileged place where, in the mid nineteenth century, in view of pre-unification ferment - at first only local but subsequently intended to have national resonance - feeding a cultural climate that allows' statement about, 1860, a coterie of intellectuals and artists who, inspired by the landscape of the Neapolitan school directed by van Pitloo, they begin to experience the outdoor studio, with the preparation physical landscape, devoid of strong compositional solidity of this rhetoric in contemporary painting and yet imbued with a lyricism suspended again by the fifteenth-century Tuscan tradition, and subsequently investigated more closely in the work of metaphysical Carrà.
Since 1861, this Tuscan squad will be given the name "macchiaioli", a term endorsed by the theoretician of the movement, Telemaco Signorini, as the purpose of the group was not so much the search form, as the yield impressions from the truth through the juxtaposition of areas of color, "spots". It will be the leading representative of Macchiaioli, Giovanni Fattori (of which this year marks the centenary of his death), the alternation of the seasons to take the old breath of ancient rural culture: he must in fact that attention to the "true nature" which refers to the scientific method in the fourteenth century study of applications, such as Leonardo, the structure of a leaf or cloud in the sky.
The Florentine countryside near Castiglioncello Piagentina and where he lived the critic Diego Martelli are the places from which it takes the life work of these artists. And we're not far from Chiusdino, propagini the first of the Tuscan Maremma, where "the tamarisk salt are bent Wind south-west. "
But it is mainly the work of Silvestro Lega, which we feel the call to the great Tuscan painting of the early Renaissance and especially the sacredness of silence metaphysical Piero della Francesca in studying in depth the structure.
Only later, in the eighties, the Macchiaioli approach the poetic nature of Impressionism, preferring the light to the swarming reserved silence of the fifteenth-century tradition.
this story comes from the experience of twelve young artists of the School of painting prof. Adriano Bimbi Accademia di Belle Arti in Florence who lived and stayed for several months in the land of Chiusdino to develop and produce an art project and now present the results of this experience, centered on the idea of \u200b\u200b"discovering" the lands of Chiusdino pictorially, capture color, light, emotions, and present in the same country roads in a route specifically identified.
Each young person has tried to stand against the second place in an original specifications sensitivity, the different intention of painting, the difference in expressive ability, the personal psychological and emotional approach.
So some were taken from the village, the mysterious charm of its streets, from the details some views and the scent of the story emerging from them, even the poetry of some urban and architectural artifacts (Marianna Matteo Rosi and Benetazzo, Elisa Zadi).
Others were attracted by tying them to particular places but temporal situations, different times of day or seasons of the scan (Nicoletta Gemignani, Silvia Baldocchi), which has allowed them to resubmit their contexts, creating a sort of fifth stage in where the country ends up exposing himself.
Chiusdino But not only houses, streets, alleys, squares and history is also nature, woodlands and fields of wheat, sunflowers, olive groves and orchards, valleys of stubble, distances of packages and horizons of heaven. And color schemes, which have enchanted atmosphere of light Ayako Harashima, sensitivity and the eastern line of color, and Francesco Rosati modern interpreter of the Tuscan tradition.
Finally what about the most intimate close-up look to take over the embarrassing and ugly, unspeakable beauty hidden in the detail: these are the work of Yulia Knish, Rachel Niccoli, Luisa Spataro.
far light, color, vision is fulfilled.
Yet live Chiusdino involves other senses, and as if by magic, these young artists discover the sounds and the sounds of this ancient country: it is the music of a waterfall that falls with strength and sculpting the wood matrix of Nicholas Barbagli, or harmony of a gentle breeze that expands the image of a landscape that expands and also invaded the village (Andrea Ornan).
short, "landscapes" is still a challenge and an art history is not over yet (at least until the man wants to protect this kind).
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