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Madre - Donnaregina Museum of Contemporary Art verified

Naples, Campania, Italy open Visit museumarrow_right_alt

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Jan Fabre - The man who measures the clouds
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Lucio Fontana - Spatial Concept, Waits
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Jannis Kounellis - Without title
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Anish Kapoor - Dark Brother
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Michelangelo Pistoletto - Venus of the rags
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Jeff Koons - Without title
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Andy Warhol - Beuys by Warhol
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Agostino Bonalumi - Without title
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Getulio Alviani -  Vibrating texture
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Giovanni Anselmo - Invisible
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Gianni Piacentino - Dark Prussian – Blue Portal IV
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Francesco Clemente - Ave Ovo
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Giovanna Bianco; Pino Valente - The sea does not wet Naples
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Daniel Buren - Axis / Offset
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Léa Lublin - Without title
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Fausto Melotti - The love
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Sol LeWitt - Scribbles
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Gianfranco Baruchello - My cinema
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Giulio Paolini - Dilemma
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Emilio Isgrò -
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Mimmo Paladino - Without title
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Paul Thorel - "Passage of Victory"
Jan Fabre - The man who measures the clouds
Lucio Fontana - Spatial Concept, Waits
Jannis Kounellis - Without title
Anish Kapoor - Dark Brother
Michelangelo Pistoletto - Venus of the rags
Jeff Koons - Without title
Andy Warhol - Beuys by Warhol
Agostino Bonalumi - Without title
Getulio Alviani -  Vibrating texture
Giovanni Anselmo - Invisible
Gianni Piacentino - Dark Prussian – Blue Portal IV
Francesco Clemente - Ave Ovo
Giovanna Bianco; Pino Valente - The sea does not wet Naples
Daniel Buren - Axis / Offset
Léa Lublin - Without title
Fausto Melotti - The love
Sol LeWitt - Scribbles
Gianfranco Baruchello - My cinema
Giulio Paolini - Dilemma
Emilio Isgrò -
Mimmo Paladino - Without title
Paul Thorel - "Passage of Victory"

Other works on display

Description

Beuys by Warhol, the work that became part of the museum's collection, was created by the American artist in 1980, and is part of a series of portraits of the great German artist that Warhol conceived on the occasion of the meeting between the two artists , which took place in Naples on the initiative of the gallery owner Lucio Amelio. A figure of fundamental importance for international contemporary art, in 1965 Lucio Amelio opened his Modern Art Agency in Naples, exhibiting the works of the most innovative artists of those years, including Beuys and Warhol, becoming a place for debate and research , as a meeting point between internationally renowned artists who are also very different from each other. The political, philosophical, symbolic and radical nature of Beuys's work constituted, in those years, one of the most important experiences of conceptual art of a social matrix, but it was profoundly distant from Warhol's investigation into the society of mass consumption and on the media cult of celebrity. The diversity of these two visions made even more striking, in the eyes of the art world of those years, the encounter made possible by the charismatic personality of Amelio, of which the Beuys by Warhol cycle is perhaps the most extreme outcome. The series of portraits that Warhol dedicates to Beuys is centered on a photograph that, if well captures the psychological intensity and acumen of the German artist's thought (with the result of producing a portrait very distant from the usual images of celebrities which he is linked to the name of Warhol), is furthermore subjected to the silkscreen flattening and the chromatic variation in several versions usual for the artist. A work that is both personal and serial, the comparison, then as now very topical, between American art and European art.

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