Умер выдающийся итальянский абстракционист Акилле Перилли
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Умер выдающийся итальянский абстракционист Акилле Перилли
© Фото : фотография со страницы Achille Perilli в Facebook
Выдающийся представитель послевоенного итальянского абстракционизма, художник Акилле Перилли скончался в воскресенье в городе Орвието на 95-м году жизни, сообщил новостной телеканал SkyTg24.
Соболезнования по случаю кончины Перилли выразил министр культуры Италии Дарио Франческини, который назвал живописца “великим мастером итальянского абстракционизма, художником невозможной и иррациональной геометрии” в сообщении, распространенном министерством.
16 декабря 2019, 08:00Кандинский или Малевич? Что вы знаете об абстракционизме
Перилли родился в Риме 28 января 1927 года. Поступил на филологический факультет столичного университета, учился у знаменитого историка искусств Лионелло Вентури, под руководством которого защитил работу о крупнейшем метафизике живописи Джорджо де Кирико. В Экспериментальном центре кинематографии познакомился с литературоведом и славистом Анджело Марией Рипеллино, благодаря которому заинтересовался русским авангардом.
В 1947 году участвовал в создании манифеста арт-объединения Forma 1, участники которого искали свой путь на стыке господствовавших тогда в искусстве абстракционизма и реализма. При этом в абстракционизме они видели символ свободы не только в плане самовыражения, но также и в культурном и социальном смысле.
Первая персональная выставка Перилли состоялась в 1956 году в Палаццо Строцци во Флоренции. Затем его выставки проходили по всем миру, вызывая интерес широкой публики. Многие его произведения представлены в крупных частных и государственных коллекциях.
В декабре 2018 года в здании Главного штаба Государственного Эрмитажа впервые в России открылась выставка работ художника под названием “Абстракционизм в Италии. Акилле Перилли”. В нее вошли 35 работ, написанных в разные периоды творчества и принадлежащих римскому музею Умберто Мастроянни.
15 октября, 16:12КультураЛюбимова заявила о важности культурных связей между Россией и Италией
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Many are the artists who have inspired the world of haute couture and prêt-à-porter, starting from that of the British pioneer Charles Frederick Worth; or of the genial Rosa Genoni with her models stimulated by the works of Italian Renaissance artists and celebrated, for a dress by Botticelli's Primavera, at the Grand Prize for the Decorative Art section of the Milan International Exposition of 1907. Today this link it is increasingly evident that, in turn, even artists have, if not looked at, certainly collaborated with the golden world of a great industry that is also cultural.
Just to give some examples in the History of Art, consider the rich pictorial representations of the sixteenth-century and the great Venetian colourists - the fabrics and jewels so magnificently rendered in large canvases and tables, often of noble and ecclesiastical portraits - to jump immediately ahead, to that Giovanni Boldini, the supreme painter of feminine sensuality who passes (goes) very much from silks, brocades, feathers and wonderful dresses.
Let's think of closer convergences: the works of artists, great graphic designers and designers for decoration fabrics for clothes, their designs for sector posters, their projects for covers of fashion magazines: "Vogue", and "Vanity Fair", among others, for which Fortunato Depero worked a lot; to stay within the Avant-gardes, here is Sonia Delaunay (whom Missoni cannot have taken as a model), and Ernesto Michahelles who, with the name of Thayaht, invented the unisex futurist suit and also collaborated with Madeleine Vionnet and her maison; and, again: Giacomo Balla with his multicolored waistcoats, the Manifesto of Futurist Men's Fashion (May 20, 1914), followed a few months later by the Manifesto of the Anti-Neutral Dress. Forcing the list a bit, here are also the eccentric masquerades of Dalì who played a lot with Fashion and the shining world of Fashion and its muses.
The strong influence on Fashion was also exercised by Sergei Djagilev's Ballets Russes - in Paris in 1909 - to which they collaborated with many artists (including Picasso) but also Madame Coco Chanel and who was received by stylists including the great Paul Poiret ...
How to gloss over the attention of Palma Bucarelli, historical Director of that GNAM, the National Gallery of Modern Art in Rome, which in 2009 dedicated an anthological exhibition to it, including works of art, books, exhibition posters and vintage photographs of its own clothes evening that she donated in 1996 to the Boncompagni Ludovisi Museum?
Arriving in the 1950s in Italy, here is Germana Marucelli and the collaboration with the artists Paolo Scheggi and Getulio Alviani; and here is also the project of a Spatiale tie by Lucio Fontana (from 1957) or his Spaziali women's dresses (1965), some with cuts and holes, made by Ellen Moberg, a professor in the Minneapolis School of Art, and exhibited in Walker Art Center.
Clothes, rags, used and piled up (Gianfranco Notargiacomo and his installation and performance of the used clothes regrouped and sold as works of art in the gallery of Mara Coccia, 1969; Pistoletto de La Venere degli stracci, 1967; in a more recent installation of the Finnish Kaarina Kaikkonen) ...: the contribution of the artists on this theme is enormous, differently and freely declined (Fashion, anti-Fashion, Dresses, Dresses and Body, etc.), sometimes even touched, inevitably, while offering other insights ... Domenico Gnoli is an example among the many possible.
How not to identify, moreover, in the counter-cultural phenomena of the youth rebellion, concentrated in the cellars, in the basements, in the London-Swinging, in Portobello Road, in Carnaby Street, in the Mary Quant atelier, also frequented by Twiggy, and by Biba and in used flea markets a concentration of creativity Sixties knotted to the most alternative artistic research? How not to see the connection between psychedelic production (the posters of the 3d concerts of the various Victor Moscoso, Ric Griffin, Wes Wilson, Martin Sharp but also the hippie shirts and other clothing items) and the Art Nouveau - by Mucha more than all - and oriental art? Or the forays into the world of street art and graffiti art? In this context, Keith Haring will design fabrics for designer Vivienne Westwood, colorful t-shirts and watches for Swatch, decorate the Fiorucci store in Milan in the 1980s and in 1986 will open its New York Pop Shop that sold graffiti printed on gadgets , watches, sweatshirts and clothing of all kinds. It immediately became a trend ... with all due respect to those who wanted to keep their profile off longer. Still about Elio Fiorucci and his love for Art, it was he who involved Colette Justine in her shop in New York, on 59th Street, in 1978. The multimedia artist and visionary protagonist of performance art, investigated the relationship between Body, gender identity and the border between art and refined and commercial fashion, as Jeffrey Deitch ruled in 1981.
Proceeding from connection to connection, in Pop Art the sisterhood with the world of Fashion and of the Communication linked to it is obvious. We do not underestimate the fact that Andy Warhol had been a magazine designer and advertiser such as "Vogue", "Harper's Bazaar" and "Glamor" as well as having begun designing shoes and related complaints, creating a series of works, in the 1980s, entitled Diamond Dust Shoes: before Carrie from Sex and the City, Andy understood that colorful and expensive décolleté signed satisfied not only feminine fetishism and were Status Symbol ambit. But not only shoes you live nor enter the fashionable mood: one of his sketches, in the nineties, decorated a fabulous evening outfit by Iceberg, and many designers and brands that Warhol and Pop Art looked at: from Yves Saint Laurent who in 1965 produced a jersey dress with a typical Pop color structure (a great success: as was his square Mondrian dress, essential, colored with an abstract grid like that of Dutch paintings), while you celebrate them Campbells soups reappear on the scene through an American dress that in 1966 reproduces Warhol's prints with that subject giving body - it's appropriate to say - to an interesting metalinguistic phenomenon.
Others will recover depictions of Warhol, from his Marilyn to Mao (Gianni Versace, Agatha Ruiz De La Prada, Vivienne Tam and a lot of self-produced fashion). Afterwards, it will be the Punk to overturn the rules of bon-ton and of the Costume immediately becoming from anti-style to trend also: inevitable fate of a bad-revolution that he saw in Vivienne Westwood - today acclaimed designer among the most irregular and original - and in the companion Malcolm McLaren - pure manager of the Sex Pistols - a point of union with the Fashion: it was 1971 and at 430 of King's Road in London the two opened Let it Rock, a shop that, with some variation of the name, was symbol of English punk.
These are only hints of great synergies between Art and Fashion, not to mention countless exhibitions on the subject. Among the various, those curated by Maria Campitelli in Trieste: Imagerie Art Fashion, almost an event on the intertwining of art and fashion held in 2003 in eleven different public and private locations with the two Revoltella and Canal Grande museums and a sort of expansion of a research started in 2001 with Garden Fashion and continued in 2002 with Other Fashion.
There are also many large or minimal exhibitions focused only on one type of production and one head of fashion and on its relationship with painting, sculpture, installation, video, photography etc .: Art and shoes, shirts, bags, artist gloves ...; and denim, as in Arte e Jeans; the latter is the title of a series of events held by the late Vichy Hassan of Energie and Sixty (and to which the first edition, the French one, at Le Passage de Retz in Paris and titled Art & jeans. Relief minimaux matière, mémoire, idée, the undersigned collaborated in 1994 with Federica Di Castro, involving Luigi Ontani, Mario Schifano, Luca Maria Patella, Giacinto Cerone, Sandro Chia, Giosetta Fioroni, Enzo Cucchi, Mimmo Paladino, Achille Perilli, etc.) in which national artists and internationals were asked to paint on or interpret the historic fabric produced in Nîmes in France that will become blue in Genoa and universal thanks to the Americans ...
There are also many collectors of works of art: almost all. They range from Versace to Armani, from Laura Biagiotti, who collects, restores and lends her Futurist works to large exhibitions, to Fendi with whom he collaborated Matteo Basilè digital artist, photographer and fashion-addict.
Then, how many are the art foundations of the brands? From the pioneering Benetton, to Fendi, Trussardi, Prada, Zegna, Buziol, not forgetting the active Collezione Maramotti.
The variegated, reciprocally ad hoc supports are almost rhizomatic: Fiorucci and Benetton, immediately in liaison with Visual Arts (including Photography), and then Fiorucci Art Trust by Nicoletta Fiorucci (founded in 2010); in particular, among the most recent brands: Nike connected to street-art creativity (highly abused, even in the title); F-wibe, brand of the Fornari maison with which also collaborates the young Pop Surrealist and French graffiti artist Miss Van; Zegna Baruffa Lane Borgosesia, who produced the works of the Zurich artist Nic Hess: three-dimensional installations that refer to embroidery; Louis Vuitton, who sponsored the great exhibition at Yayoi Kusama's Whitney Museum; and "Tim Hawkinson, Cai Guo-Qiang together with photographer Nobuyoshi Araki for the magician of the pleated formal boldness Issey Miyake (Pleats Please line)." 
Among the dedicated museums it is worth mentioning the anomalous structure of the spouses Vreelann Swenters and Pierre Bogards, Belgian shoemakers who have collected over 1200 pairs of shoes worn by artists such as Erro, Claes Oldenburg, Gerard Richter, Merce Cunningham, Arman, Richard Long , Bill Viola, Nicole Tran Ba Vang, Michelangelo Pistoletto, Maurizio Cattelan, Aldo Mondino.
System of art and entrepreneurship come together in embraces where the Glamor side exudes the purest artistic practice: in the party at the Venice Biennale of the 10 years of activity of the Trussardi Foundation, Anri Sala distributes a scarf similar to those of the fans but with the writing Maria Maria; in the decorations for the facades of the Louis Vuitton boutique chain, made by Kusama who also signs a collection of clothes ...
In this multilevel context the experiences of art and weaving, but also embroidery - of each type (from Maria Lai, to Sabrina Mezzaqui, Claudia Losi, Elena Nonnis, from Alice Schivardi to Vezzoli) are deliberately hidden, even if only graphically called as Susan does Harbage Page - although ascribable to a context linked to Fashion, and the Dress fits like a prosthesis and interface of the Body: futuristic and anti-neutral, like the one indicated by Marinetti and the aforementioned Tayat and Balla; political: almost always! Among the many examples, that of Costa Vece with its flags of poor clothes stapled between them and, first, of Frida Kahlo for whom the clothes were evidently devices of socialist and feminist expression starting from the choice of Tehuana's tailoring: see the exhibition Appearances Can Be Deceiving: The Dresses of Frida Kahlo, Frida Kahlo Museum, Mexico City, 2013; of reuse (eco?) as in the bottles and recycled plastics by Enrica Borghi; and continuing: pictorial (of the intense Marisa Busanel, and of a man: Piero Pizzi Cannella, with his clothes as ghosts of a woman - because objects survive us - in large paintings); two-dimensional, to be a mapping (Elisabeth Lecourt); luminous (Antonella Cinelli); traveling (South Korean Kimsooja); apparently more poetic (Caroline Broadhead, Silvia Levenson) and decidedly social (many examples; one among many: Shirin Neshat) and gradually more and more dramatically symbolic (in many works by Carol Rama, by Louise Bourgeois, in some works by Méret Oppenheim and in Rebecca Horn's harnesses), allusive with brio (in breast-bra sculptures and Fiorella Corsi's terracotta shoes) or transformist: from Claude Cahun to Luigi Ontani to Cindy Sherman, to the aforementioned Impellizzeri, to them more than others, for the which the Dress does not make the monk ...; still: exhausted, as in the first performances of Vanessa Beecroft, those with models taken among ordinary women, dressed minimally and uniformly, to declare an abuse of the female body and its homologation in the contemporary social apparatus; finally: mutant and extreme, like in the flesh dresses of Jana Sterbac she wore until their putrefaction and organic transformation (freely remembered by Robert Gligorov in a nineties performance) and copied from the most recent, weak revision of Lady Gaga.
Two worlds in comparison and in continuous contamination, these so far treated: it is interesting to note that if the figure of the scruffy artist, uninterested in living and dressing and fasting in tailoring cuts, has gradually become stereotype and has taken root for a long time in the collective imagination, well: we know that things are very different; Honoré de Balzac also knew, among others, that he put the dots on the 'i':
"(...) The artist (...) is both elegant and neglected; he wears, by choice, the peasant blouse and imposes the frac worn by the fashionable man; he does not undergo the laws: he tells her
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