Palazzo Reale, in the Teatro del Falcone, opens to the public from 10 November 2018 to 10 March 2019, a major exhibition, curated by Daniele Sanguineti, dedicated to the famous figure of Anton Maria Maragliano, renowned author of wooden sculptures.
For the first time you can admire, compared to each other, the master's masterpieces, witnesses of the persuasive power of painted and gilded wood to personify the protagonists of Paradise: from the elegant Marian statues to the graceful Crucifixes to the great processional machines with the martyrs of the saints.
This is the first exhibition event to give an account of the artist's monographic profile, addressed in the last twenty years in a specific and in-depth manner by Daniele Sanguineti who has made a capillary archive and philological contribution, greatly increasing the catalog of works.
The ability to meet the needs of the client through beautiful images and strong emotional impact made possible, from the beginning of the eighteenth century, the obtaining of a real monopoly that forced the sculptor to provide a structured business structure. Two generations of students were welcomed in the rooms of Strada Giulia, in the heart of Genoa, where Maragliano had his workshop, giving rise to the phenomenon of divulging the master's language which represents the most fascinating, though problematic, aspect of the approach to sculptor: and the pupils of the students pursued this popularization beyond the end of the century.
The exhibition, set up in the rooms of the Teatro del Falcone, will propose an exhibition itinerary with a dual approach: on one side the chronological process, with the reference cultural models, the beginnings, the workshop and the progressive intervention of the students; a series of thematic sections, articulated in suggestive aggregations of works by iconography or scenographic impact.
The exhibition will open with a section dedicated to the precedents with the works of the artists on which the young Maragliano was formed, from Giuseppe Arata and Giovanni Battista Agnesi to Giovanni Battista Bissoni and Marco Antonio Poggio.
Followed by the places of Maragliano evoked through a series of documents, engravings and watercolors useful to tell the stages of apprenticeship and the environments that have hosted the master's workspace over the years.
The magnificent San Michele Arcangelo of Celle Ligure, requested in Maragliano in 1694, and the San Sebastiano for the Disciplinanti of Rapallo, commissioned in 1700, testify, in a special section, the role of models in tune with the most up-to-date figurative culture rooted in Genoa thanks to the painter Domenico Piola and the French sculptor Pierre Puget. These sculptures, capable of translating into the three-dimensionality of the artefact the engaging grace of contemporary painting and Bernini's sculpture, reveal the new, delicate dynamism of Baroque culture.
The practice of work, from the manipulation of clay models to the collaboration with painters - especially those of Casa Piola - will constitute a deepening of particular interest that will make comprehensible the ideational project in the entirety of its process.
The progressive juxtaposition of some Crucifixes, large or small, from a chapel, from a high altar or from a procession, shows the substantial renewal conferred by Maragliano on the iconography until obtaining a repeatable cliche on the part of the students.
A series of spectacular Madonnas, seated on the throne, and an extraordinary processional crate - the Sant'Antonio Abate contemplates the death of Saint Paul Hermit now relevant to the homonymous brotherhood of Mele - give back the theatrical values of the maraglianesche compositions, for which the biographer Ratti, reporting the judgment of the people, wrote: "... have all the air of Paradise".
The penitential themes, from Holy Week, will be illustrated in the enthralling section The passion according to Maragliano.
Alongside works of small format, including the nativity statues, which will allow you to fully appreciate the master's technical expertise, will also be exhibited refined objects, sacred and profane, commissioned by noble families for their private collections.
The journey ends with an allusion to the complex management of the maraglianesca heritage, thanks to the presence of some pieces made by the main students.
From Thursday 1 November the Association of Social Promotion of Culture Art Commission in collaboration with the Royal Palace of Genoa, presents in the Halls of the Court, the photographic exhibition of Lucia Boccalone COSMOGRAPHIA curated by Virginia Monteverde. The exhibition is a journey through images that, beyond today's dilated borders, offers a critical reading of the world through a personal cartography. The geographical representation becomes a means to direct the gaze towards a new perspective from which to look and investigate the relationship between our planet and its inhabitants. Geographical maps built with sheets of newspaper draw a world prisoner of an information culture too often altered and forced to follow the dictates of the single thought, up to crush the continents that seem to slip under the weight of lies and fears and enter the time in a continuous fall, like imprisoned in the air. And again, a vision of the cosmos occupied by large corals that, as organisms formed by thousands of individuals, allude to the people forced to leave their homeland in search of a new life. Finally, the world becomes the theater of a war between the powerful in which society is constantly put in check in a game that can only be closed with culture.
The Genoese artist Sergio Fedriani (1949-2006), well known and appreciated for his dreamy and smiling poetics, alongside his many "official" activities as a painter, illustrator, engraver, humorist, set designer, cultivated a more secret "unofficial" and confidential, and perhaps even more loved than the previous ones: travel watercolor. In fact, he used to send postcards or letter envelopes vividly colored in watercolor to his holiday spots, making small works of art travel by post which would inevitably be gratefully received.
An exhibition dedicated to two undisputed masters, Enzo Cacciola and Gianfranco Zappettini, who since the seventies of the last century have dedicated their work to a coherent investigation on the specificities of painting as an expressive means of contemporary artistic research. Over 40 works that mark the creative path of the two artists from the first experiences to today, with particular attention to the most recent production.
Curated by Leo Lecci and Alberto Rigoni
Palazzo Reale proposes to define its physiognomy, in one of the most delicate phases of its history, involving the architectural complex, its collections, furnishings and decorative apparatuses. The private and public art work, set in the apartment of the hereditary princes, set up and furnished by order of Charles Albert in 1842, on the occasion of the wedding of the Dukes of Savoy Vittorio Emanuele and Maria Adelaide of Habsburg-Lorraine.