Conegliano: Palazzo Sarcinelli – Teodoro Wolf Ferrari – La Modernita del Paesaggio - Exhibition

 

Palazzo Sarcinelli
Teodoro Wolf Ferrari – La Modernita del Paesaggio

At Palazzo Sarcinelli, Teodoro Wolf Ferrari – La Modernita del Paesaggio is on show until June 24. The exhibition is curated by Giandomenico Romanelli and Franca Lugato, and has the aim of shedding light on the emblematic and little-studied figure of Wolf Ferrari. It allows us to enter the studio of this “poet of the landscape” and contemplate through paintings, watercolors, decorative panels, stained glass and studies for postcards, the gentle hills that stretch from Asolo to Conegliano and the Grappa uplands, or the darker and more disturbing scenarios that hold a deep feeling of mystery. 

Teodoro Wolf Ferrari

Paesaggio (cat.31 + 32) – 1908

Pannello Deocrativo a Quattro Ante – 1912

www.mostrawolfferrari.it

 

 

Co-curator Giandomenico Romanelli and Emanuela Bassetti

President, Civita Tre Venezie  

Teodoro Wolf Ferrari - Betulle e Glicini – 1919

San Zenone degli Ezzelini

Cipressi sul Monte della Madonna verso la Val Sugana – 1942

These are works that declare Wolf Ferrari’s own love of landscape, experimentation, and a wide variety of techniques. He was able to imbue Venice and Italy with European figurative ideas that, at the dawn of the twentieth century, inaugurated modernity and gave rise to the great avant-garde Secessionist movements.

  “Tall, big, blond, ruddy
with greenish eyes, eloquent
when he talks and tries to explain
the chiaroscuro of his spiritual life
you would think him tranquil when
you see him, but he is full of anxiety
wear, interior hopes; a tenacious
worker; an industrious decorator
an impenitent optimist and
full of hope.”
Gino Damerini - 1910

 

Teodoro Wolf Ferrari – Notte – 1908

After his studies at the Accademia di Belle Arti in Venice with Guglielmo Ciardi, Wolf Ferrari went on to study in Munich where, in 1895, he came into contact with some of the most advanced and cosmopolitan Symbolist and Secessionist movements of the time. The exhibition layout ranges over the whole career of the artist, following a thematic line that includes various periods and experiences, from his view of Middle-European trends, with a fascinating section devoted to the theme of “storms”, to the latest Venetian art and the delicate autumnal walks from Grappa to the Piave.

Teodoro Wolf Ferrari 

Paradiso Perduto – 1908

Paesaggio Notturno – 1908

 

 Teodoro Wolf Ferrari – La Morena - 1910-12

This is a rare occasion for getting to know and re-discovering an artist better known to specialists than to a wider public, an artist who not only gracefully portrayed nature, but also told the story of the transformation of Italian art on the cusp of the 19th and 20th centuries.

   

We Drank

Prosecco Superiore Brut

Conegliano Valdobbiadine

 

Teodoro Wolf Ferrari - postcards

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Venice: Museo di Palazzo Mocenigo – Katagami e Katazome + Venezia e l’Oriente – exhibitions

 

Museo di Palazzo Mocenigo

Katagami and Katazome

Symblology and Decoration of Textiles in Japan

At Museo di Palazzo Mocenigo, until April 22, Katagami and Katazome - Symblology and Decoration of Textiles in Japan, until April 22, is designed and curated by Franco Passarello.  The exhibition reveals the cultural history and ethnological aspects of the Japanese craftsman connected to fashion textiles.

http://mocenigo.visitmuve.it/it/mostre/mostre-in-corso/katagmi-e-katazome/2017/12/17590/simbologia-decorazione-tessuti-giappone/

 

Katagami and Katazome

Symblology and Decoration of Textiles in Japan

The many examples of weaving, printing and dyeing provide abundant evidence of the long tradition of the high standard of clothes worn in Japan. Before the 20th Century Japan was a nation of weavers and artisans creating superb textiles with natural fibers, silks and cottons on hand-looms and dyed in backyard pots.

curator Franco Passarello

Kajiboari  - Samurai coat - Edo era

Chiara Squarcina and Tonci Foscari

Woodblock Print Book – 6^th year Bunka

Edo era 1806

Katagami

Katagami and Katazome

Symblology and Decoration of Textiles in Japan

The exhibition highlights the tasteful restraint, elegance of line and attention to texture that have come to be associated with Japanese Art, found nowhere else in the world. Dress-cloth printed with the katazome technique are shown together with the katagami stencils used to dye textiles.  The exhibit material span between 1800-1910 -  Edo and Meiji eras.  On loan from the collections of Franco Passarello, Ishimi Osugi and Nancy Stetson Martin.

Kataginu – formal jacket  

silk dyed Katazome - Meiji 1900 – katagrami printed design

Design Sample Book - 12^th year Meiji – 1880

 

Han-jubani –printed Katazome – Edo era

Han-jubani - printed Katazome – Taisho-Showa era

Hanori – printed Katazome – Maiji-Taisho era

 

Maria Teresa Granata

Katagami - Stencils

 

Katazome – dyeing technique on fabric

Photograph courtesy MUVE

 

Museo di Palazzo Mocenigo

Venice and the Orient

Collection Fondazione di Venezia

Thanks to the rich collection of fabrics and Oriental clothes owned by the Fondazione di Venezia belonging to the  archives of Palazzo Mocenigo Museum of Textiles and Costumes, until August 26, the exhibition focuses on the theme Venice and the Orient and is curated by Chiara Squarcina. A selection of twenty representative examples of the precious collection of over four hundred artifacts once belonging to the maternal family of Mariano Fortuny y Madrazo (which also includes western, oriental clothes and fabrics and vestments) are displayed in the majestic rooms of the palazzo.

http://mocenigo.visitmuve.it/en/il-museo/museum/building-and-history/

 

 curator Chiara Squarcina

 

Museo di Palazzo Mocenigo

Venice and the Orient

The oriental vetements were assembled in Spain by the parents of the painter Mariano Fortuny y Madrazo, in 1875 the collection was put up for sale in Paris after the death of Mariano’s father. It was later recomplied by his mother Cecilia and continued by the artist himself. It is a nucleus of particular interest because it was a constant source of inspiration for Fortuny, in his activities of printing on cloth and fashion design and also, because it allows to visually reconstruct that ancient - and never dormant - link between Venice and the Orient.

 
Carlotta Vincenzi  

 

Mark Edward Smith

 

Museo di Palazzo Mocenigo

Venice and the Orient

 

Franco Passarello

 

Anna Turcato

Veronica Piccolo

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