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Le Marche another Italy
Le Marche encompasses everything one would want from Italy. Incredible countryside from the Sibillini mountains to the glorious coastline, classic landscapes, castellated hilltops towns, culture, art, music, indoor, outdoor and watersports, wonderful wildlife, fun, delicious food and wines, quality fashions and footwear, museums, churches, culture, history – so much to do and see. Experience life to its fullest – experience Le Marche!
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Le Marche Wines in London | Rossodisera: Deal of the Month: April

Le Marche Wines in London | Rossodisera: Deal of the Month: April | Le Marche another Italy | Scoop.it

Thanks to the great success it has during the last month promotion we decided to keep the white Veronica on promotion this month too and to match it with the red Moroder.
Both wines are organic and comes from two wineries one in the south and one in the center of Le Marche region of Italy.The white Veronica is from Cantina Le Caniette near Ascoli Piceno, in the south part of the region, while the red Aion is from Cantina Moroder near Ancona, in the central part of Le Marche but close to the coast. This two part of the region are both very well know for their tradition in wine making which is dated back of centuries until the Roman period, and for some particular and very local variety like Rosso Conero from Ancona and Pecorino from Ascoli. [...]

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Federico Barocci: a poisoned picnic changed this Old Master's life - Telegraph

Federico Barocci: a poisoned picnic changed this Old Master's life - Telegraph | Le Marche another Italy | Scoop.it

Federico Barocci: a poisoned picnic changed this Old Master's life
Little-known Old Master Federico Barocci turned an attempt to kill him to the advantage of his art, says Martin Gayford.
One day in 1563, Federico Barocci suffered a terrible misfortune. At the time, Barocci, a painter, was living in Rome, and enjoying a degree of success – enough to inspire jealousy among a group of fellow artists, who lured him to a picnic and there tried to kill him with a poisoned salad. Barocci survived – and went on to live for another half century, back in his native Urbino – but that poisonous picnic became the turning point of his life.
Thereafter, he became a reclusive invalid who – very, very slowly – painted pictures of supernatural sweetness and beauty. This month, those pictures become the subject of a major exhibition at the National Gallery, Barocci: Brilliance and Grace. It may seem a bold decision to give such a prominent show to an artist who is by no means a household name, even among art historians. But Barocci, who was born around 1533 and lived until 1612, is a master well worth reviving.
Earlier this year, I accompanied Carol Plazzotta, the curator of the National Gallery exhibition, on a pilgrimage around the Marche region of Italy, between the Adriatic and the Apennine Mountains, where many of Barocci’s works can still be found. Quite a few hang in the churches for which they were originally painted. For me, this was an introduction to an artist of compelling subtlety and charm – and a religious sensibility that seems quite distant from contemporary tastes. Barocci’s paintings are remarkable for their ethereal colour harmonies, and the complexity and refinement of their designs, but they also convey a mood of heady, swooning piety.
Barocci came from a family of artists, astronomers and clockmakers. His uncle was an architect, and his great uncle Girolamo Genga (1476-1551) had been a fellow apprentice with Raphael and eventually became painter to the court of Urbino. Barocci, you might say, was born into the aristocracy of art.
His work is a bridge between two eras that might seem quite distinct: the High Renaissance and the 17th-century Baroque. In his youth, great figures of the early 16th-century Renaissance such as Titian (d. 1576) and Michelangelo (1475-1664) were still at work (indeed, Barocci once encountered the latter in the street in Rome; Michelangelo looked at his portfolio of drawings and encouraged him).
At the other end of his life, Barocci’s contemporaries were the masters of the early 17th century, among them Rubens, who was coming into his artistic maturity. His drawings have a supple freshness that anticipates not only the 17th century, but even the 18th. Looking at his studies of heads, for example, you think of Watteau.

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Barocci: Brilliance and Grace @ National Gallery

Barocci: Brilliance and Grace @ National Gallery | Le Marche another Italy | Scoop.it

The Renaissance was, to put it mildly, not lacking in superb painters — Da Vinci, Raphael, Michelangelo, Titian and Botticelli, to name just five. But what are we to make of the National Gallery’s claim that they’ve discovered another Italian master in Barocci, and should he take a place beside these greats?

Barocci was struck down by an illness at a young age that persisted for the rest of his life. Rumours still abound that he was poisoned by a jealous rival. This illness meant he was forced to work at a slow pace, creating few paintings throughout his career. He seldom travelled. But is his art as intriguing as his personal life?

His work is a portfolio of the transition from Renaissance to Baroque art, with his ‘Immaculate Conception’ creating a sense of movement that would eventually be taken forward by later painters such as Murillo. Highlighting his versatility is a sensational painting of the Nativity where his excellent use of Chiaroscuro rivals the works of Caravaggio.

There are many studies in this exhibition, hinting at Barocci’s slow and methodical approach. Though most are only mildly interesting, there are a few that are great works in their own right. A study of the head of St Joseph is so impeccably detailed that it surpasses the final version in ‘The Visitation’.

Not all of the paintings on display here should be heralded as masterpieces, but there are many excellent works, such as the Annunciation, that mark Barocci as a great painter. Whether he should be considered one of the chief Italian Renaissance artists is debatable, but his finest works definitely place him in contention.

Barocci: Brilliance and Grace is on at the National Gallery until 19 May. Tickets are £12, concessions available.

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