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Sunday, March 2, 2014 , at 18.30 , in Castronuovo St. Andrew, in the halls of MIG . International Museum of Photography and the Library ” Alexander Appella ,” opens the exhibition dedicated to Ossip Zadkine ( Smolensk , Belarus, 1890 – Paris 1967) and Achille Perilli (Rome 1927) , which continues the work of information began August 20, 2011 with the history of European printing and continued with the personal Miró, Degas , Renoir, Bonnard , Matisse , Dufy , Picasso, Calder , Ben Shann , the Berlin Secession and Pechstein , accompanied , respectively , by the exhibition of Renoir on, the counterpoint in the presence of an Italian artist : Gentilini , Strazza , Accardi, Ciarrocchi , Consagra , Melotti , Maccari and Bucci .
Since the MIG coexists with the Library, every encounter is marked by ” a book, an exhibition .” This time it’s two books: “Les Travaux d’ Hercule ” by Euripides , accompanied by 28 illustrations and 3 lithographs put together by Christoph Czwiklitzer in 1960 but made ​​in America in 1941 , and ” Sept Calligrammes ” by Guillaume Apollinaire (1967) with 10 etchings clarifying how Cubism and adherence to new ideas for Zadkine were only a starting point , a means to measure their skills and get rid of any mannerism of avant-garde , including discipline . His sculpture should not be an argument but a harmonious way of understanding the world . Do not , therefore , deformation gabellate for plastic rhythms but movements of shapes ready to solicit emotions.
The illustrations for ” Les Travaux d’ Hercule ” are a testament to how Greek mythology has always inspired Zadkine . The trip to Greece , in 1933 , then collected in a book in 1955 , urges the memory of legendary figures . Hercules , the character endowed with a primitive force , able to triumph over almost insurmountable hardships , becomes the symbol of his most secret thoughts . The design , literary and allegorical , departing from his usual style , it becomes an indictment of the absurdity of war . Just as in sculpture , where the raw material (the block of stone or large tree trunk ) suggests the shape to be released with great simplicity of attitudes .
The same simplicity that is the end of life with the particular will of the ” Sept Calligrammes ” by Guillaume Apollinaire , where word mark and join forces to make the tenderness of repeated glances lying on the human body , contradicting habits Cubist brought to destroy or to deny beauty. Elegance of gestures and moves profiles that define the female figures , once again , the factors that make up the shape : the curve replaces the straight line , the cavity of the protrusions , the light shade, to dig up large openings in the compact mass , plans to superimpose that feed multiple points of view .
Apollinaire wrote , Zadkine and confirms it with his images : “For me a calligram is a set of sign design and thought. It is the shortest way to express a concept in terms of materials and to force the eye to accept a vision Overall the written word . ”
To draw a precise path of the evolution of expressive Zadkine , the exhibition will be accompanied by a bronze in 1935 , ” He twisted de femme ,” and a novel lithography , 1942, ” The Conversation .” Images and accompanying documents ( photographs, letters , catalogs, critiques , posters) , however , analyze since his arrival in Paris in 1909, the method used to get to the heart of the artistic research of the time , including Cubism and newborn the École de Paris in training, through the work of Chagall, Lipchitz , Modigliani , Picasso, van Dongen and others.

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The life of Zadkine begins in 1890 , in a small Russian town where as a child shows his inclinations. His father , a professor of greek and latin, sends him to some relatives in England. Here he attended the School of Art and at the same time is dedicated to learning the techniques of engraving at a cabinetmaker . In 1909, after a brief spell in London marked by numerous visits to the British Museum , he decided to settle in Paris. Leave early in the Academy of Fine Arts, where he had enrolled to start working seriously as a sculptor , fiery atmosphere of the avant-garde. At first he settled in La Ruche , the historic residence where artists from Eastern Europe ( Brancusi , Chagall , Soutine … ) , deeply fascinated by Western culture , staying in a kind of ideal community . The thirst for knowledge soon makes him leave the neighborhood to settle in Montparnasse, close to the artists in those years enliven the cultural life of Paris . We can only imagine the beauty of those moments with friends artists and writers ( Modigliani , Picasso, Braque, Apollinaire … ) , the wealth of those conversations in the studio , the words “no one will speak again.” In this ferment comes to life and renews her art , initially inspired by the linearity and sensitivity of forms of Brancusi and subsequently reinforced by the lessons of Cubism Archipenko and Lipchitz , to arrive at maturity linked to the style of Juan Gris . The different portions of the same reality , the different views of the same object , intersect without losing their identity. He writes: ” The language of sculpture is nothing pretentious if it is not composed of words of love and poetry .”
During the First World War he volunteered , as they do on the other hand many artists of the time including Apollinaire , who died as a result of a war wound . The horror is experienced in his later works . Reformed due to an injury , he settled on a Roussellet to Paris, where he met the painter Valentine Prax who would become his wife. The art encompasses his life . In 1920 he exhibited 49 sculptures, most watercolors and drawings in his workshop Roussellet . It is his first solo exhibition. Thus began to be noticed and appreciated in many parts of Europe , he exhibited in many art galleries in Europe ( Netherlands, Belgium, Italy , etc. . ) And takes part in many competitions sculpture in different parts of the world. In 1921, ” Plastic Values ​​” published the first monograph on his work, with text by Maurice Raynal . In 1928 the first retrospective in London. The following year he exhibited at the Art Club of Chicago gouaches . But the nightmare of war is approaching and also the racial laws that accompany it. Because of his Jewish origins is forced to flee to the United States where he taught at the Art Students League in New York and at Black Mountain College in Arizona.
On his return visit to the Dutch city of Rotterdam completely destroyed by bombs. It is deeply impressed , so as to become a source of inspiration for his most famous work : The city was destroyed (1947 – 1951 approx .) The monument will be erected in the port city in 1953. From this moment everything is a series of successes , starting in 1950 , the Grand Prix of sculpture at the XXV Venice Biennale. Between 1955 and 1961 he made ​​a tribute to Vincent Van Gogh’s The sculptures will be placed in the garden of the house of Vincent Van Gogh in the Netherlands in 1963. During this period, his works were exhibited in a traveling exhibition in Canada, Seattle, San Francisco and in six cities in Japan , as well as the largest exhibition at the Tate Gallery in London. He died November 25, 1967 . His house and studio in Paris on rue d’Assas 100a in 1982 will become the ” Musée Zadkine .”

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In counterpoint , as has already happened to Renoir – Gentilini , for Bonnard – Strazza , for Matisse – Accardi, for Dufy – Ciarrocchi , for Picasso – Consagra for Calder – Melotti and Pechstein – Bucci, MIG , through a selection of works graphic dated 1966 – 2010 , it is proposed to report , with Achille Perilli (Rome , 1927) , as the Italians have studied European artists . After Consagra and Carla Accardi, MIG opens the door to another member of the group that Form 1 , which was founded in 1947 with the contribution of Peter Dorazio , Antonio Sanfilippo and Giulio Turcato , in its manifesto proclaimed a decisive rejection of the art realistic -figurative . Despite the wide variety of solutions adopted this will be the theme of the artistic research Perilli since the 50s, when the first overtures to take over European art guidelines to the Soviet constructivism , and abstraction concretism . Just the 50s , in fact, are those for the Roman artist of the discovery of the shape and color of the trials . Perilli part by a primary form , also built by the technique of collage and then destroyed in an explosion of signs that eventually regenerate a structure. The colors of these years are bright and accesi.Nel 1957 he began to publish with Gastone Novelli ” Experience Modern ” , a journal of culture contemporanea.In this context , Perilli begins to experience the incision and the language of the press, wants to build a ” new communication ” in which the relationship with the audience you are complessi.A from the end of the decade , the work of Perilli begins to lose any precise reference to the existing , as if it were pressed by ” landslides that memory has on data of visual perception . ” These are the years of theoretical writings , the Manifesto of the Crazy Image in Imaginary Space (1971) and Machinerie , ma chere machine.Tra the nineties and 2000 he began a series of ” Trees “, the ” Distorted “, the ” Whites” and the ” Pottery .” Our experience over the years with precious art books , finds its outlet in the 90′s in a real necklace : the ” Librericciuola ” , 20 books with texts by poets, writers, photographers , musicians, architects, illustrated only by his engravings. The 20 books will be exposed to the MIG for this occasion.

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The exhibitions , through graphic works , catalogs and movies available in the library , linking the work of artists with educational activities which, through a series of events and workshops, the MIG intends to carry out , dedicating it to the children and young people of countries gravitating in Pollino National Park and the neighboring ones .
The exhibit , sponsored and supported by the City , the Pro Loco of Castronuovo Andrew and Ente Parco Nazionale del Pollino will remain open until June 28 , 2014, every day, except Mondays, from 17 to 20 ( the morning by appointment ) . Admission is free .
Next exhibition :
29 June to 20 September 2014
Émile Bernard , Les Fleurs du mal by Charles Baudelaire , woodcuts, Ambroise Vollard Editeur , Paris , 1916.
In counterpoint : The graphic work of Antonietta Raphael, 1948-1975 .

Ossip-Zadkine