Tiziano a Bergamo. Viaggio nella pittura veneta con un gioiello del Kunsthistorisches Museum di Vienna

Delle diverse versioni di Marte, Venere e Amore dipinte da Tiziano, solo una sembra essere giunta fino a noi. Nei suoi colori morbidi e sontuosi, il maestro cadorino ci ha regalato l’istantanea di una passione proibita, ma anche la rappresentazione di un incontro tra opposti – la guerra e l’amore – che si sciolgono, almeno per un attimo, in un abbraccio pacificatore. Appartenuta alle collezioni imperiali austriache e ora conservata al Kunsthistorisches Museum di Vienna, la tela sarà finalmente esposta in Italia da oggi, venerdì 4 settembre, fino al prossimo 25 ottobre. Nell’allestimento Tiziano in Bergamo studiato dall’Accademia Carrara di Bergamo per valorizzarne luminosità e ricchezza cromatica, vedremo il dipinto dialogare con altre opere di Tiziano e della tradizione veneta: Giovanni Bellini e Giorgione, le cui ricerche il pittore cinquecentesco portò a compimento, Paolo Veronese (a cui Marte, Venere e Amore è stato attribuito), e poi Lorenzo Lotto, Palma il Giovane, Paris Bordon, Francesco e Jacopo Bassano. Restando invece a Tiziano, il percorso della Carrara permette di coglierne l’evoluzione dagli anni giovanili con Orfeo ed Euridice e la Madonna con Bambino in un paesaggio fino alla piena maturità artistica, ben rappresentata dal dipinto ospite che l’artista realizzò quando era già vicino ai settant’anni. Lorenzo Lotto, Il Matrimonio Mistico di Santa Caterina, 1523, Olio su tela, 134 × 139 cm I Accademia Carrara, BergamoQuasi certamente legata alle celebri Poesie di soggetto mitologico create da Tiziano per Filippo II di Spagna, l’opera ricorda le sensuali tele di Danae conservate a Vienna e a Madrid, ma anche i ricchi cromatismi di Venere e Amore che ammiriamo alla Galleria Borghese. Nella tela del Kunsthistorisches Museum l’autore interpreta in modo molto personale il tema del tradimento di Venere, che preferisce al suo legittimo sposo Vulcano il più aitante dio della guerra. Diversamente dal racconto di Ovidio, che nelle Metamorfosi ambienta la scena sul letto coniugale, Tiziano colloca la coppia in un dolce paesaggio campestre, evocando quella fusione tra uomo e natura che rappresenta uno dei tratti più caratteristici della tradizione figurativa veneziana. Distesa su un giaciglio improvvisato, la dea si abbandona al bacio di Marte, che ha deposto a terra l’elmo e la spada per cingerle il corpo, mentre Amore in volo osserva compiaciuto l’effetto delle sue frecce. L’incontro di forze contrastanti, sembra dirci il mito, genera concordia: dall’unione di entità apparentemente inconciliabili nascerà infatti Armonia. Oltre che con la luce e il colore, Tiziano esprime tutto questo attraverso le torsioni e gli intrecci tra i corpi dei protagonisti: un aspetto che colpirà profondamente Antoon Van Dyck, impegnato nell’elaborazione di un linguaggio sempre più originale durante il suo soggiorno in Italia. Lo scopriamo sfogliando il quaderno di schizzi del pittore fiammingo conservato al British Museum, dove si trova anche una delle prime testimonianze dell’attribuzione di Marte, Venere e Amore al maestro di Pieve di Cadore.Tiziano in Bergamo, allestimento Sala 18, Accademia Carrara I Tiziano Vecellio e bottega (Pieve di Cadore 1488/1490 circa – Venezia 1576), Marte, Venere e Amore, 1555 – 1560 circa I Olio su tela, cm 86,5×108,9 I Vienna, Kunsthistorisches Museum, Gemäldegalerie
Source: Arte NEWS

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