Treviso gives the possibility to the great artists from the beginning of the 1900s who were rejected in their own time to make themselves known. From 29 October until 17 April 2017 the Santa Caterina Museum is hosting an extensive exhibition dedicated to The History of Impressionism (Storie dell’Impressionismo), curated by Marco Goldin.
Visiting hours for the exhibition: Monday to Thursday 9:00 a.m. to 6 p.m., Friday to Sunday 9:00 a.m. to 7:00 p.m.
Special days on which extended hours are schedule may be seen on the website of Linea d’Ombra, the exhibition organizer.
A nice new change is that everyone in possession of a ticket can also visit the other exhibitions on display at the museum in the course of the same day:
Titian Rubens Rembrandt;
From Gattuso to Vedova to Schifano;
The Pinacoteca Civica permanent collection from Titian to Guardi;
The archeological section;
Santa Caterina Church with frescoes by Tomaso da Modena.
The fleeting moment revolution
Impressionism, between mid 1800s and the beginning of the 1900s, developed as movement with a will to change the fixed rules previously used in art. The approach with external reality is different. No longer does one endeavor to capture on canvas simply what is seen with the eye, but to focus on the sensations the artist was perceiving in the moment.
What counts most is the impression that a determined object or landscape has on the observer that can only be seized in the fleeting moment.
With the perception that the next moment could generate completely different sensations, there is a need for immediacy in the practice: this translates into a work without a preliminary studio, en plein air, in rapid brush strokes, touches, strokes, blots and dotted, dissolved, and mixed colors to create gradations.
Everything is less precise because what is represented is not reality but the sensation that is stirred within the artist.
From Ingres’s portrait to the en plein air crisis
The History of Impressionism is told by 140 works, mostly paintings along with photographs and color woodblock prints by Hiroshima and Hokusai, divided into six sections:
– The look and the silence, portraiture from Ingres to Degas to Gaugin
– Figures under the sun, from Millet to Renoir
– The positioning of things, from Manet to Cézanne
– A new desire for nature, from Corot to Van Gogh
– Impressionism in peril, Monet and the en plein air crisis
– How the world changes, the extreme years of Monet and Cézanne
A journey featuring the new language of the impressionists versus the language of the academic painters that preceded them, in a dialogue of experiences lived in parallel by both schools.