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CAMDEN TOWN GROUP
13 Febbraio - 5 Maggio
Tate Britain
London

Il Camden Town Group nacque nel 1911 e si sviluppò in un momento intenso della storia inglese. Il nuovo secolo portò un'ondata di cambiamenti: a livello sociale con le incontenibili suffragette che richiedevano a gran voce il diritto di voto e la parità dei sessi; nel tessuto urbano con la modernizzazione dei trasporti che, nel giro di pochi anni, cambiò il volto di Londra. Carrozze e trasporti pubblici tirati horse disappeared rapidly (in 1914 there were only 1200 coconuts across London) first to give way to buses, cars and a symbol of the British capital, the subway.

The artists of the Camden Town Group and stood as witnesses to these changes and made the London theater of their paintings. The bright colors of a city 'on the move ( Piccadilly Circus, Charles Ginner, 1912), the dense and compact strokes closely recalls the influence of French post-impressionism. Van Gogh and the colors in the stretch, in the colors of the palette of Gauguin, Degas in the choice of unusual shots, evident in Gauguins and Connoisseurs at the Stattford Gallery Spencer Gore or The Naked and the Nude Walter Richard Sickert. In this painting from 1910, 'portrayed a young woman we see the naked body bent, as if it were committed in private as an everyday activity, but not the face. The cut chosen, the person who appears through a door left open as if by chance, give the viewer a strong sense of voyeurism.

This shows I enjoyed, but not passionate. If the resumption of post-impressionist style initially intrigued me, has come early to get tired. It seemed to me that their was a way to paint, but without adding nothing personal point of view of style. A little 'as if it were disguised as French English.

changing perspective, however, the works of the Camden Town Group instead become very interesting when you look at them as witnesses of an era. The views of London immortalized in their paintings show a different city so as to tighten the heart and return to a past that thought, though so far, is just around the corner.

Not to miss: In the Cinema Malcolm Drummond and the faces of Londoners in the dark, concentrated on the film.

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CRANACH
Royal Academy of Arts
London
March 8 to June 8

Lucas Cranach il Vecchio, insieme a Dürer, è stato una delle maggiori personalità del Rinascimento Tedesco. E io lo trovo assolutamente affascinante.

Saranno i suoi nudi femminili, dai corpi allungati, di una grazia scomoda, poco levigata, tedesca ma al contempo intrigante, come Venus con occhi quasi a mandorla e lo sguardo accattivante. Pericoloso potere seduttore della donna.

I contatti tra i due maestri tedeschi sono provati e i rimandi a Dürer sono evidenti sia nei lavori incisori di Cranach che nei dipinti. L’esempio più noto è la Melancholia a cui both have tried to give a face. Cranach gave this strange disturbance in the features of being a young woman entered and broke it in the emerging Protestant iconography, making it an independent work of the previous Dürer. The measure of the distance between the two works is given by the group of witches that break and going crazy on the left side of the painting irreparably breaking the pensive stillness of space and time. The inactivity dictated by the state was unacceptable for the melancholic soul of Germany Saxon Protestant who hovered in the first century and Cranach, a personal friend of Luther and follower of the new faith, expressed unequivocally the conviction.

Cranach fascinates me the loyalty shown to the Elector of Saxony, his patron, then in exile and at the same time the independence of his unconventional profession. His personal connection to Luther, also sealed any formal act, the painter was the best man and godfather of the German reformer of his first child-did not prevent him from accepting commissions from major antagonist of Luther, Cardinal Albrecht of Brandenburg, the most important man of the Church of the Holy Roman Empire, for which he made a series of portraits.

Lucas Cranach's work remains fortemente legata allo spirito della Riforma. Lavorando attivamente alla diffusione dei suoi temi e soggetti, diede una forte spinta alla creazione di una vera e propria iconografia per questa fede di rottura, il cui rapporto ambiguo con l’arte correva sul filo dell’iconoclastia. Alcuni dei suoi dipinti erano a sfondo moraleggiante, ma privi di pesantezza e anzi ricchi di quella ventata di rinnovamento che la Riforma aveva portato in tutta Europa. A sostegno del credo luterano Cranach dipinse il grottesco in una serie di quadri sui matrimoni male assortiti, e la duplicità della donna vista come esempio di fedeltà assoluta, come Lucrezia o come diavolo tentatore, come la Venus riccamente agghindata a cui accennavo prima.

The shape of this painter is rich and interesting landscape of the sixteenth century in German, of Wittenberg, the epicenter of the Reformation and beyond. The fame of his abilities as a portraitist crossed the threshold of the courtyard and quickly spread throughout Germany.

Absolutely beautiful landscapes as a backdrop to many of his paintings. Reminiscent of Dürer and Flemish for the wealth of detail, but do not be a mere sum of detail, while maintaining a vision overall balance and a teacher.

Not to miss: 1526, Adam and Eve , She lowers the branch with one hand and the other presents the forbidden fruit, looking at Adam with a seductive look, he with one hand on the apple, the other resting on his head, uncertain. We would like to trust his partner but at the same time, the smell of danger is strong. And we all know how it ended.

Trivia: The picture Cupid complains to Venus was part of Hitler's private collection. Now the National Gallery has launched an appeal for anyone with information to reconstruct the history and ownership of the work.

Royal Academy of Arts Burlington House

Piccadilly London W1J 0BD

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