Venezia, Milano, l'Europa: alle Gallerie d'Italia l'avventura internazionale di Tiepolo

Le Gallerie d’Italia festeggiano i 250 anni dalla scomparsa di Giambattista Tiepolo, genio eclettico capace di stupirci con la luce e il colore, con il pathos e con l’ironia. Mago del pennello, scenografo fuori dalle scene, maestro dell’illusione, Tiepolo ha lasciato a Milano spettacolari cicli di affreschi, da Palazzo Archinto a Palazzo Clerici e a Palazzo Casati Dugnani. In città, tuttavia, non si è mai vista una mostra a lui dedicata. Dal 30 ottobre al 21 marzo 2021 la rassegna realizzata da Intesa Sanpaolo in collaborazione con le Gallerie dell’Accademia di Venezia celebrerà la dimensione internazionale del grande pittore settecentesco: il lavoro alla corte di Dresda, gli straordinari “effetti speciali” del Palazzo di Würzburg, le decorazioni che con ostinata energia l’artista ormai anziano orchestrò per Carlo III a Madrid, dove si spense il 27 marzo del 1770. Gli spazi espositivi di Piazza Scala accoglieranno una quarantina di opere autografe del maestro, a confronto con altri big del suo tempo in un viaggio tra i più raffinati centri artistici dell’Europa settecentesca. Giambattista Tiepolo, Trionfo delle arti e delle scienze, 1731 ca. Olio su tela, 55,5 x 72 cm. Lisbona, Museu Nacional de Arte Antiga © MNAA/DGPC/ADF, Luísa OliveiraCurata da Fernando Mazzocca e Alessandro Morandotti con il coordinamento di Gianfranco Brunelli, Tiepolo. Venezia, Milano, l’Europa presenterà eccezionalmente insieme i dipinti mitologici giovanili e capolavori religiosi come il Martirio di San Bartolomeo, i grandi cicli di tele creati per i palazzi della nobiltà veneziana e affreschi raramente accessibili al pubblico, come quelli per la Basilica di Sant’Ambrogio e per Palazzo Gallarati Scotti di Milano. Da tempo staccate dalle loro sedi originarie, queste opere esemplificano due aspetti significativi dell’arte del Tiepolo: l’abilità di narrare gli episodi sacri con i toni epici di un pittore di storia e l’invenzione di stupefacenti spazi immaginari attraverso la materia aerea e impalpabile della luce. Un notevole campionario di disegni e bozzetti, inoltre, permetterà di spiare dietro le quinte di creazioni che ancora oggi lasciano gli spettatori a bocca aperta: dal Banchetto di Antonio e Cleopatra dipinto per il veneziano Palazzo Labia agli affreschi per la residenza del principe vescovo Carlo Filippo di Franconia a Würzburg, in Baviera. Giambattista Tiepolo, Il Banchetto di Cleopatra, Dettaglio, 1746-1747, Affresco, 650 x 300 cm, Venezia, Palazzo LabiaSe i soggiorni milanesi proiettano definitivamente Tiepolo in una dimensione internazionale, in Germania e in Spagna l’artista trova una valida collaborazione nei figli, in particolare in Giandomenico. Insieme stupiscono i committenti per fantasia, tecnica e velocità di realizzazione, passando dalla corte di Dresda – all’epoca uno dei centri artistici più alla moda – al Palazzo Reale di Madrid, dove dipingeranno la grandiosa Apoteosi della Monarchia Spagnola. Si chiude con la solenne introspezione e l’inedita tenerezza espressiva maturate in terra di Spagna il percorso in otto sezioni della mostra. Non può che accadere con un grande confronto tra padre e figlio: San Francesco riceve le stimmate di Giambattista (Museo del Prado, Madrid) dialoga con Abramo e gli angeli di Giandomenico (Gallerie dell’Accademia, Venezia), in mezzo a una serie di colorite Teste di carattere realizzate da entrambi.Giambattista Tiepolo, San Francesco d’Assisi riceve le stimmate, 1767-1769, olio su tela, 278 x 153 cm. Madrid, Museo Nacional del Prado © Museo Nacional del PradoLeggi anche:• La luce sull’abisso: i 250 anni di Giambattista Tiepolo• Tiepolo 250. Sulle tracce del maestro tra le ville e i palazzi di Vicenza
Source: Arte NEWS

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