Contemporary Figurative Art Competition – PORTRAIT: the image of the soul

Are you ready? A new Contest is coming to keep you active Artistically! And it promises to be a real bomb!

SUBSCRIPTION CLOSED

The prize at stake is truly unprecedented!

The main prize is an Artwork worth 300 euros by Vicente Romero Redondo and the Exhibition of the finalists at Sala Consiliare del Primo Municipio of Roma Capitale with the Patrocinio dello stesso from Friday 11th of May to Thursday 17th of May.

Fast Information:

Deadline: 14th of April 2018
Membership Fee: FOR MEMBERS: 10 Euro
FOR NOT MEMBER: 20 Euro (10 iscrizione associazione + 10 Euro per partecipazione)

HOW TO SIGN UP: only online uploading the Artwork’s photo (read below)

THEME

The portrait is one of the oldest pictorial genres that the history of art has handed down to us with a specific purpose: to entrust one’s image to a painting to oppose the advance of time with the preservation of memory, a sort of realization of the Faustian dream of immortality, a deception halfway between truth and illusion with a subtle and vaguely disquieting charm.
In reality, the portrait is not only a pictorial genre, but a representation of the perception that artists of every age had of themselves and of man more generally, each according to their own time, their culture and their history.

Without going too far into the historical evolution of portraiture in pictorial art, the fundamental starting point in this Competition is the psychological key of the subject portrayed to fix an expression, an attitude, a pose that best interprets the character and soul of it.

The fundamental criteria for selection will be the quality, the research, the originality and the contemporaneity of the work.
For quality, research and originality, we mean the personal research of the subject portrayed that should not be saved from photo archives on the Internet, rather painted from the real or from a photograph taken personally by the competitor.

There will be no limitations of subject, technique or style, on canvas or paper. For pictorial work we mean any use or manual intervention with oil, tempera, acrylic, industrial paint, ink, watercolor, vinyl, gouache, pastels.
The graphic design works (graphite, charcoal, etc.), digital ones, engravings and copies of existing works are excluded.

The maximum size allowed for each side of the work is 200 cm.

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THE JURY

Silvio Porzionato The Piedmontese artist lives and works in a close and intimate contact with nature and art. Porzionato is a figurative painter who prefers oil and acrylic painting on large canvases, concentrating mainly on the chromatic use of black and white and on various shades of gray, recounting in painting his very personal reflections on man and woman, inevitably, on the flow of time.

 

Justin Bradshaw The works of Justin Bradshaw are minimal in size but large in their content. Pervases of great intensity transmit messages of spirituality with mystical and charismatic convergences.
The technique used is that of oil on copper; it is an ancient technique developed during the Mannerist period and chosen in particular by Flemish and German artists for small and refined paintings

 

Jara Marzulli Graduated from the Bari Academy, she exhibited her paintings, always representing women or children or women and children (motherhood is a strong theme of her art and her life)

 

 

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READ THE COMPLETE CALL

 

SUBSCRIBE TO THE COMPETITION – SUBSCRIPTION CLOSED

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The Cultural Association will register the Participant as Ordinary Member to the annual cost (12 months) of € 10 which will give the opportunity to participate in all the free events that will be proposed during the year; we are very active in the area and often offer events such as Drawing at the Gipsoteca (totally for free), Guided Tours of Exhibitions in Rome, Cultural and Educational Events inside the Association itself.

The entrance to Arts in Rome is reserved for members.

The membership to the cultural association Arts in Rome must be requested in advance online (using the form below) or downloaded Modulo di Iscrizione all’Associazione Arts in Rome and sent to [email protected] email or delivered in person to the Location.
The application will be assessed by the Association’s Board of Directors at its next meeting, when it will be accepted you will receive notice by email and you can pick one up at the Arts in Rome with a valid ID.

► Annual Cost: € 10.00 (valid for 12 months after registering) to be paid by Bank Transfer / Paypal or directly in Office

Minors: minors can join, but must go directly to our office accompanied by one of the parents or guardian, or bring the completed application form and signed together with a copy of a valid document of the parent (download here the question).

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CALL

Contemporary Figurative Art Competition – PORTRAIT: the face is the image of the soul

Art.1 – PURPOSE

The Arts in Rome Cultural Association has launched a prize competition for artists, with the aim of promoting and enhancing Contemporary Figurative Art. The competition includes the pre-selection of 10 finalist works, of which the best 3 that meet the criteria of Art.2 are awarded prizes and the Exhibition of the finalists at Sala Consiliare del Primo Municipio of Roma Capitale with the Patrocinio dello stesso from Friday 11th of May to Thursday 17th of May.

Art. 2 – ADMISSION CRITERIA

The competition is open to all contemporary artists, of all nationalities, over 18 years of age, having the theme of PORTRAIT

The Face is the image of the soul (Marco Tullio Cicerone – De oratore)

The portrait is one of the oldest pictorial genres that the history of art has handed down to us with a specific purpose: to entrust one’s image to a painting to oppose the advance of time with the preservation of memory, a sort of realization of the Faustian dream of immortality, a deception halfway between truth and illusion with a subtle and vaguely disquieting charm.
In reality, the portrait is not only a pictorial genre, but a representation of the perception that artists of every age had of themselves and of man more generally, each according to their own time, their culture and their history.

Without going too far into the historical evolution of portraiture in pictorial art, the fundamental idea in this Competition is the psychological key of the subject portrayed in order to fix an expression, an attitude, a pose that best interprets its character and soul of it.

The fundamental criteria for selection will be the quality, the research, the originality and the contemporaneity of the work.
For quality, research and originality, we mean the personal research of the portrait subject that should not be saved from photo archives on the Internet, rather painted from the real or from a photograph taken personally by the competing artist.

There will be no limitations of subject, technique or style, on canvas or paper. For pictorial work we mean any use or manual intervention with oil, tempera, acrylic, industrial paint, ink, engraving, watercolor, vinyl, gouache, pastels. The maximum size allowed for each side of the work is 200 cm.

The graphic design works (graphite, charcoal, etc.), digital ones, engravings and copies of existing works are excluded.

Art. 3 – TERMS AND MODALITIES

Interested artists can register by April 14, 2018 , using the ON-LINE mode

On the https://www.artsinrome.com/portrait_competition_2018 page you can access the registration form; within the form you can enter your data and those of the work, the image upload and payment of the fee

Within 7 days after the registration deadline, the Jury will proceed to the selection of the first 10 finalist works that will have access to the final selection.

The 10 finalists and the first 3 who will win the prizes, will be contacted and the names published on the website of the Association

Art. 4 – PARTICIPATION FEE 

Participation in the competition is reserved for members only; for those who were not at the time of registration must first request admission from the site https://www.artsinrome.com/membership
The registration fee for the competition, to partially cover organization costs, is set at 10 Euro for 1 single registered work . The payment of the registration fee must be made in Euros, without bank fees or commissions charged to the Organization. The registration fee is non-refundable.

The payment of the registration fee can be made through:

  • On-line with credit card: PAY PAL (in this case the fee is 12 euros to cover commissions).
  • Bank Transfer: current account in the name of “Arts in Rome Association” – Unicredit Bank / IBAN IT 68 Q 02008 05090 000104690578 – BIC / SWIFT UNCRITM1 C19 with causal COMPETITION THE PORTRAIT 2018, name and surname of artist.

  • At the secretariat of the Association: Arts in Rome, via Pasquale VIllari, 1 – 00184 – Rome

Art. 5 – SUPPORTED IMAGES

In order to support the work nominated for the competition, for a better understanding of the artist’s poetics, it is possible to insert further 3 images of the same work. The supporting works do not participate in the selection and are excluded from payment.

Art. 6 – PUBLICATION OF WORKS

All the works of the participants will be published on the site, with name and surname (or pseudonym) of the artist, title of the work, technique, format, year

Art. 7 – JURY AND SELECTION

The selection of the works will be carried out by an artistic jury composed of six members of the Directorate and Professional Artists interviewed by the association. The jury’s decisions are final and unappealable.
Art. 8 – PRIZES

The prizes will be divided as follows:

Vicente Romero Redondo 1st Prize: Limited edition print of a work by Vicente Romero Redondo, numbered, signed in original and certified. Value 300 Euro
2nd prize: box of 30 Rembrandt pastels, Portrait selection worth 80 Euro + a 30 Euro voucher to be used for an Arts in Rome course or workshop in 2018
3 ° prize: a voucher of Euro 50 to be used for a course or workshop of Arts in Rome in 2018

The Exhibition of the finalists at Sala Consiliare del Primo Municipio Monti of Roma Capitale with the Patrocinio dello stesso from Friday 11th of May to Thursday 17th of May.

The awarding of prizes will be free only for destinations in Italy.

Art. 9 – PHASES AND DEADLINES 

14 April 2018 deadline for submit the Artwork
21 April 2018 announcement of the 10 finalists
Friday 11th of May on 4 PM at Sala Consiliare del Primo Municipio of Roma Capitale in via della Greca 5, First Floor with the partecipation of Vicente Romero Redondo Artist the award ceremony will be carried out.

THEME

Art. 10 – CONSENT Each candidate expressly authorizes the Cultural Association Arts in Rome, as well as his legal representative, to process personal data transmitted pursuant to Law 675/96 (“Privacy Act”) and subsequent amendments D. lgs.196 / 2003 (Privacy Code), also for the purpose of inclusion in databases managed by the aforementioned persons. Each participant in the competition grants free of charge to the Cultural Association Arts in Rome, as well as to its legal representative, the reproduction rights of the works and texts issued to the prize, for the purpose of editing the catalog, any publication on the website of the award and other forms of communication, promotion and activities of the organization. The material sent for registration will not be returned. The organizers of the competition will have the right of final decision on everything not specified in this announcement. The organization reserves the right to make changes to the announcement if the need arises.
Membership and participation in the prize implies the unconditional acceptance of all the articles of this announcement. subject to change

This competition is not subject to the DPR rules n. 430/2001 as it does not constitute a commercial prize event.

Visita alla Mostra di Alphonse Mucha – Roma

Report

Si è svolta il 25 maggio 2016 la visita guidata gratuita alla Mostra di Alphonse Mucha al Vittoriano di Roma.Visita Guidata Graduita alla Mostra di Alphonse Mucha - Roma

E’ stata un grande privilegio per noi poter offrire ai nostri Associati l’occasione di visitare una bellissima mostra di un precursone dell’Art Nouveau con la sapiente descrizione di Gianluca Pica, grazie all’aiuto dei Family Banker di Banca Mediolanum.

Due ore di percorso con circa 200 opere tra dipinti (come Self-portrait del 1899 e France Embraces Bohemia del 1918), manifesti (Poster for ‘Gismonda’ del 1894 e Sarah Bernhardt as La Princesse Lointaine del 1896), disegni (tra cui gli studi per ‘By force towards freedom, with love towards unity!’ del 1910-1911 e per ‘The Age of Wisdom’ del 1936-1938) e gioielli (quelli dell’Esposizione universale del 1900 come Ornamental chain with pendants e ‘Peacock ring’ entrambi del 1900)

In questa sequenza di immagini scattate durante e dopo la visita guidata, dimostra la viva partecipazione e interesse dei nostri associati.
Bellissimo l’allestimento offerto che ha messo ben in evidenza il percorso artistico del grande protagonista, promotore di un nuovo linguaggio comunicativo, di un’arte visiva innovativa e potente a cavallo tra l’800 e il ‘900.

Grazie anche e specialmente a lui la Belle Epoque ha conosciuto un grande innovatore e comunicatore.

Ringraziamo di cuore i Family Banker di Banca Mediolanum che hanno offerto l’ingresso e la guida, nonché l’aperitivo al termine, con l’affascinante affaccio ai Fori Imperiali di Roma.
Impagabile!!!!

Ci vediamo alla prossima iniziativa dell’Associazione Arts in Rome!

Visita Guidata Gratuita alla Mostra di Alphonse Mucha – Roma

Visita Guidata Graduita alla Mostra di Alphonse Mucha - Roma

25 Maggio 2016 – Complesso del Vittoriano- via dei Fori Imperiali – Roma

L’Associazione Culturale “Arts in Rome” e Banca Mediolanum offre ai propri soci l’opportunità di visitare Gratuitamente la Mostra di Alphonse Mucha e l’Art Nouveau al Complesso del Vittoriano a Roma, con l’accompagnamento di Gianluca Pica che ne descriverà la storia e le opere.
Al termine verrà offerto un aperitivo ai Fori Imperiali.

La mostra

Dal 15 aprile sarà ospitata nelle sale del Vittoriano la mostra di Alfonse Mucha, curata da Tomoko Sato, che ripercorre l’intero percorso creativo dell’artista ceco, attraverso 200 opere tra dipinti, manifesti, disegni, opere decorative, gioielli e arredi. Un occasione per conoscere e approfondire questo grande artista, che fu a cavallo tra ‘800 e ‘900, uno dei più celebri in Europei.  Particolarmente famose le sue opere grafiche, combinando infatti immagini di donne seducenti a composizioni e layout tipografici innovativi, riuscì a creare originalissimi manifesti. Nacque così un nuovo genere di arte visiva fiorito nella Parigi della Belle Époque e Mucha divenne una vera e propria icona dell’Art Nouveau. (http://www.ilvittoriano.com/mostra-alphonse-mucha-roma.html)

Quando e Dove?

L’Appuntamento è alle 17.00 (inizio visita 17.30) di Mercoledì 25 Maggio 2016 al Complesso del Vittoriano, lato via dei Fori Imperiali e a seguire i Family Banker di Banca Mediolanum, offrono un aperitivo ai Fori Imperiali.

Quick info

Data: 25 Maggio 2016 alle 17.00
Luogo: Complesso del Vittoriano – via dei Fori Imperiali
Info: [email protected]
Telefono: +39 393 9433 952
Durata: circa 3h
Come arrivarehttp://www.ilvittoriano.com/indirizzo-come-arrivare.html
Costo per i NON Associati: 10 Euro validità 1 anno per altri Eventi Gratuiti

Costo

Per gli Associati ad Arts in Rome, la partecipazione è GRATUITA, per i NON Associati è richiesta l’iscrizione all’Associazione con il contributo di Euro 10 Una Tantum che avrà validità di 1 anno e permetterà di partecipare gratuitamente ad altri eventi.

La partecipazione è a numero chiuso di 20 persone. ACCETTIAMO SOLO PRENOTAZIONI

Ringraziamenti

Ringraziamo calorosamente Sandro Scalera Family Banker di Banca Mediolanum per essersi proposti come Sponsor dell’evento, coprendo interamente i costi di biglietto, della Guida e dell’aperitivo. Senza di loro non potremmo godere appieno questa grande mostra.

The mosaic of Santa Balbina: from the past to the present

There are things in Rome that are so hidden which is very difficult to know their history. Moreover there are masterpieces that could seem common inside a church or a huge and luxurious palace. Finally, there are also some mosaics belonged to a very ancient period which was discovered less than one century ago. A mosSanta Balbina Romaaic that counts the history of Rome. And in order to see it, we should go to the unknown church of Santa Balbina.

This sacred place is set in the Aventine Hill, next to the majestic remains of the Caracalla’s Baths.
From its main door we could observe the greatness of Rome, but we should focus themselves also in this little but old church. In fact, it took its origins from the V century AD, when a “titulus” was formed.
A “titulus” was the first unofficial church in Rome, and it was organized by Romans who were very close to the new Christian religion, which started to spread out in the city from the I century AD, after the Jesus Christ’s death.

Santa Balbina RomaThese Romans wanted to give a refuge and a place for the pray to all the Christians who were under persecutions. Over the centuries the church of Santa Balbina got bigger and it was restored and embellished during the IX and mainly in the XIII century. For this reason, today it is one of the most curious and beautiful example of the Romanesque art, an artistic style that developped so much in Rome and making it finer than before.

The Church of Santa Balbina hosts many works of art, as for example the gorgeous episcopal pulpit, set in the apse, which is decorated with fine and coloured marble pieces. The red and the green of the little marble pieces make it one of the best example of the Cosmati art, a family of craftsmen who worked so much in Rome during the XIII century. They became the symbol of the Romanesque style and we could find their work all over in Rome! But then inside the church we could see an ancient marble tomb dates back to the XIII century which embellished the old St Peter’s Basilica. Moreover, along the sides of the nave there are a black and white mosaics. They are decorated with naturalistic reliefs and drawings, but what is special is their history: in fact, they are dating from the I-II century AD, and they were discovered during the excavations occured at the beginning of the XX century in the area of the Roman Forum, the real political and civil heart of Rome.Mosaici con tessere bianche e nere (ricostruzione '900) - Chiesa Santa Balbina

Why are they so special? Just because they still exist. In order to restore and conserve them, they were moved in this little and unknown church, where they still live for our eyes and our memory. Many archeological pieces and ancient remains were destroyed during the excavations of the Roman Forum, when Mussolini desired to rebirth the memory of the powerful Roman Empire, in order to create a relationship with his Rome and Italy. But probably he didn’t care about the real memories, that proofs of a civilization which managed to rule quite the entire known world. And that well preserved mosaics, in the little church of Santa Balbina, remember us how was huge the roman heritage.

The St’Helen Chapel: where gold and mysticism stay together

cappella di sant'elenaThere are many places in Rome rich of mystical and religious atmosphere, where mainly a Christian man could find the right location where pray and get in touch with the real sense of the religion. But the Chapel of St’Helen, the Costantino’s Mother, represents a special place for its relics and fot its history.

First of all, I shortly speak about Helen, a woman who strongly embraced the Christian religion. According to the tradition, she decided to go in the Holy Land, in Palestine, in order to find one of the central relic of the Christianity: the Truth Cross, where Jesus Christ died. She was a clever and proud woman, and when she met a man who knew the exact place of the Cross, she asked him where it is. But the poor and old man didn’t want to answer to that foreign person. This is the reason why she inflicted pain to him, until he decided to count everything. In this way St’Helen found the famous “Golgota”, the hill where Jesus Christ basilica santa croce in gerusalemmeand the two thiefs were murdered. But the story doesn’t end here, because she founds three crosses! What could be the real One? Helen imagined a ploy and ordered to bring there a dead body. It was touched by pieces of the three cross, and when it got in touch with a wooden splinter of the Real and Truth Cross, it resuscitated. So, Helen decided to bring in Rome that piece of Cross…and this is the reason why the basilica that contains it, built during the first period of the IV century, is named “Basilica di Santa Croce in Gerusalemme” (The Basilica of the Holy Cross of Jerusalem).

golgota groundToday we could admire that relics close to other important proofs of the sanctity of the Chstianity: inside the Chapel of St’Helen there’s also the ground of the Golgota that was brought in Rome from Helen.

But what we could see inside the chapel i salso its fantastic mosaic decoration. Try to take a glance just above you, and you will look something incredible and fine gilded background, where coloured tiles form the holy face of Jesus Christ, surrounded and surmounted by angels. It was realized during the XVI century, mosaico cappella sant elenawhen the basilica was totally restored. Imagine how it is special for the Christianity! Of course, there are other pieces of the Holy Cross in Rome and in the world. They usually belonged to a period, the Middle Ages, where were created false relics in order to gain something, especially money.

But that wooden splinter symbolizes St Helen’s, the mother of the man who change the history allowing to the Christian people to come out from the shadows to speak the language of Jesus.

 

An “arch” in Rome with a “damnatio memoriae”

Arco degli ArgentariThe “Arco degli Argentari” is a structure with architrave (so it isn’t a real arch), which stands just next to the portico of the Church of San Giorgio al Velabro. The area is plenty of remains which manage to bring our minds in very ancient times, when Rome was just born, when the kings tried to improve the city with many public services, as the market of Foro Boario. It was the symbol of a Rome which wanted to open new ways in the world.

For this reason it isn’t a case if the “Arco degli Argentari” is a gift of the “bankers and the merchants of Rome”, offered to the Imperial family of Settimio Severo, in the first years of the III century AD. The “Arco degli Argentari” in fact was used as one of the entrance of the Foro Boario, the place in which the donors worked. Monuments as arches or something similar were very common in Rome, mainly if the receiving was the Emperor: in this way it was easier received some favours

damnatio memorie arts in romeWhat is important to say it isn’t just the fine and rich marble decorations, with the figures and reliefs which completely cover the surface, but what there isn’t…in fact close to the figures of the Imperial family, as Caracalla or Settimio Severo, we could observe a sort of empty space, a relief not so well preserved that looks like to be destroyed. And in fact it was destroyed, in order to cancel the figure. This is a clear example of “damnatio memoriae“, a roman tradition which was used against the enemies of Rome or the men who wasn’t able to have civil behaviours. Nero, for

Ritratto di Caracalla, inv. S 464
Ritratto di Caracalla

example, was convicted, after his death, with the “damnatio memoriae”. For this reason today it’very difficult find something depicting the emperor. Moreover, that cancelled figure represents Geta, the Caracalla’s brother. Geta was the Settimio Severo’s heir, because it was his first son, while Caracalla was the secondo one. But in a period full of murdereds and blood, Carcalla killed his brother accusing him of treason. And the punishment for this crime was a “damnatio memoriae”.

But probably, Caracalla just wanted to eliminate an aspirant to the throne…

Pasquino: the statue which loves talk very much…

Statue Parlanti Roma - PasquinoWhen you stay in Piazza Navona you should go to the narrow street along the great palace which hosts the Brazilian Embassy. Go down that street until the final part of the huge building, and turn your eyes to the left: just above a basament you will find a not well preserved marble statue, with some little paper attached in its surface.
They are the words of the most famous “statua parlante” (talking staue), in Rome: its name is Pasquino

What is a “statua parlante”?

It’s a statue in which, over the centuries, were attached papers with satirical writings, mainly used against powerful men or women.
Bankers, Popes, Senators and other important people in Rome were put under the fire of that writings.

Why did they attache here? What is this statue?

It was discover at the final part of the XV century, during some excavations occured in that area to build a palace for a powerful cardinal: Oliviero Carafa.
Carafa family started to be very important in Rome, and this is the reason why a member of the family became Pope during the XVI with the name of Paolo IV.
Statue Parlanti Roma - PasquinoThe archeologists think that this sculpted group represents Patroclo and Menelao, two characters of the Iliade, the Homer’s epic poem.
You should know how in that period many schools stood in the area, and probably this is the origin of the legend of the “statua parlante”. Some nights strange papers started to appear above the face or the bust of the statue… but Oliviero Carafa, who was a clever man, knew that the Pasquino was very famous and popular in Rome, mainly in the poor part of the population.
For this reason he didnt’ destroy it and used it in a particular way. In fact, the cardinal decided to organize a sort of literary challenge: the students of the nearest school had to write whatever they want (histories, poems etc.) and the winner could have the privilege to see his work attached on the surface of the Pasquino!
So, the statue bacame more famous, while the satirical writings named “Pasquinate”, continue to “embellish” it. This is the origin of a real icon of Rome: it belongs to the Romans, that people who can’t stay in high social classes. That people who decided to use their voice in a very particularly way.
But there’s just a last question.

Why has Pasquino this name?

There’s a legend which claims how the student of a school not so far from the basament of the statue, had a laugh to a teacher. He probably had some phisical problem and for this reason he looks like the not well preserved sculpted group. “Pasquino” was a sort of insult…and the insults became the main peculiarity of this statue, the first “statua parlante” in the city (in Rome there are other five ones).

Terre Coloranti

Pigmenti e ColoriI minerali si presentano con una grande varietà di colori.
In mineralogia i minerali che hanno colore proprio si dicono idiocromatici: la loro polvere ha colore, mentre nei minerali allocromatici la polvere è sempre bianca. Pertanto i minerali impiegati come coloranti sono quelli idiocromatici. Ma non tutti i minerali colorati sono impiegati come pigmenti e buona parte dei pigmenti non sono minerali veri e propri.
12138532_10203869742299043_8263359100885050779_oLa Terra Colorante è un materiale argilloso con un contenuto di ossidi metallici del 10 – 12 %; mentre un’ocra è un materiale caratterizzato da un tenore di ossidi superiori al 12%.
Gli Ossidi di Ferro sono il prodotto finale della alterazione di minerali contenenti Fe (pirite, marcasite, ecc.) e hanno la caratteristica di essere cromaticamente molto stabili: ci sono giunti dipinti in grotte in ottime condizioni dopo 35.000 anni. Le Terre coloranti di cui ci occupiamo in questa nota sono le seguenti:
Terre rosse (ocre rosse) costituite essenzialmente da ematite Fe2O3 (rosso sangue); laterite (rosso splendente o rosso bruno) e minerali argillosi.
12045307_10203869762659552_2846167471346497305_oTerre gialle: (ocre gialle) costituite da idrossidi di ferro: limonite (Fe2O3.H2O), goetite (FeOOH e lepidocrocite (FeOOH ), minerali di varia genesi ma in particolare come prodotti di alterazione della pirite (FeS2). Le ocre gialle, riscaldate ad alta temperatura, virano al rosso ed assumono poi colorazione sempre più scura, sino al nero, procedimento noto sino dalla preistoria.

Terre nere
: magnetite Fe3O4, grigia e nera; carbone (generalmente di legna); pirolusite (MnO2). Nel Veronese sono state attive miniere di argille carboniose utilizzate come Terra colorante.
Terre verdi: costituite da glauconite e da celadonite. La formula della glauconite è la seguente:
(K, Ca, Na)<1 (Al, Fe…, Fe.., Mg)2 [(OH)2/Al 0,35 Si 3,35 O10] (Grill, 1963).
12107754_10203869755339369_7584278687336889686_nColore: verde scuro, verde giallognolo, verde azzurrognolo, per lo più senza lucentezza.
La glauconite è di genesi sedimentaria, mentre la celadonite è un costituente secondario di rocce eruttive prevalentemente basaltiche (PIRANI, 1963 b).

The Capitoline She-Wolf

Lupa Capitolina RomaEntering in the Capitoline Museum you could get in touch with the Real History of Rome, with its remains and proofs of the most important city of the Ancient Times. Of course, the museum hosts many archeological works of art, but there is just one which could describe all the importance and the powerful of the Caput Mundi. A sort of animal symbol that underlines what is Rome and what could be its meaning. I am talking about the famous “SheWolf“, hosted in a room of the museum and surrounded by the name of some men who tried to improve and make larger Rome.

When you walk through the rooms of the Palazzo Conservatori, one of the palaces which form the archeological collection of the most ancient museum in the world, it is difficult to stay some minutes in front of this bronze SheWolf with two childrens in the act of drinking her milk. This simple statue which we could date back to the IV century BC, represent all the meaning of Rome. It depicts its divine origine, its powerful and eternity, the moment in which Rome started to stay in the History, making it.

arts in rome eventMoreover the SheWolf with the Twins, Romolo and Remo, had some mysteries inside it…first of all, the archeologists are discussing about its age. We know that She is an Etruscan work and that She was realized by an Etruscan workshop. Then, we know that firstly the SheWolf didn’t have the Twins, because according to the traditions they were insert by an artist named Pollaiolo, during the final part of the XV century, when the Pope Sixtus IV decided to make a gift to Rome. The SheWolf, in fact, belonged to the treasure of the Vatican, and with this deed the Pope wanted to stay closer to Rome and its population. This gift and the SheWolf, for this reason, represent the first museum in the world, just because many works of art were given to Senate of Rome of the Renaissance. But today the archeologists think that the Twins were add by Pollaiolo copying an ancient representation and sources of the II century BC, just two century after the realization of the statue.

tn_DSC_0100Then, we will stay in front of it, you should try to think about its enormous value for Rome and Romans. It was an example of the great and mythical origins of Rome: the SheWolf depicts the Nature and the Gods who decided to help Romolo and Remo, in order to create the most powerful city in the world. The SheWolf was used just for political things and propaganda. Augustus was the first to use it in order to remember to the Romans where were their origins. Hadrian, in a period in which the classical art and the memories of Rome had to improve, decided the same thing. Massenzio, when he stayed inside the Aurelian Wall waiting for Costantino and his army, tried to obtain the esteem of the population with the SheWolf…So, do you observe how She is important? A normal SheWolf who did something against her natural instinct symbolizes the entire Rome and, in a certain way, the entire of our History.

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The Borromini’s lantern: the fire of the Knowledge

Imagine to walk peacefully throught the fine streets in the city centre of Rome.
Now, imagine to have to the right an open door.
Passing the entrance, you will stay just in the centre of a courtyard, surrounded by columns. But what is majestic and truly beautiful is a white and brilliant lantern set above a church in front of you.

That lantern, the architectural final part of a dome in a church, has a spiral shape, recalling movements and virtuosism. It isn’t a dream, but a true church which stands not far from Piazza Navona. This is the church of Sant’Ivo alla Sapienza, and the genius who created it and its wonderful lantern was one of the most important artists in Rome: Borromini

The Borromini’s lantern

Sant’Ivo alla Sapienza

It was a church projected during the XVI century, when all the area was under restoration.
What is foundamental to say is that this place was famous in Rome, just because it was the first headquarter of the La Sapienza University.
It was inaugurated during the first years of the XIV century by the Pope Bonifacio VIII, who wanted to show how the city could be the birthplace and the core of the Knowledge.
But over the centuries it was quite destroyed and abandoned.
This is the reason why in the Renaissance, a time in which whatever you want in Rome was restored and built, La Sapienza University was one of the palaces chosen for some restorations.

Cupola - Chiesa Sant'Ivo alla Sapienza

After many years the construction site wasn’t finish.
It was a huge problem, due to the image of Rome which had to indicate the city not only as the place of the Church, but also the refuge of Arts and Wisdow.

They could be created thanks to the deeds of the Christian Church and for this reason the sacred building was essential. Borromini started to work there with a simple aim: he had to built something that could remember to everybody the real symbols of the place.

The Lantern

We could speak a lot about the great project created by the master. How he was able to use geometrical shapes in order to produce a star map, how the inside of the church was so brilliant… but we have to put our attention to the fantastic lantern! An architectural element which connects the ground with the sky, with its curved lines and decorations.

What do it represents?

The lantern is the Fire of the Wisdow, but not only…it symbollically regains the Babele Tower, which was also a symbol of the human Knowledge. Moreover, the lantern regains also the Headlight of Alessandria, other human masterpiece.
So, in this way we could understand how Borromini played with the history and the traditions, in order to obtain something that managed to represent some of the most important human discretions.

Then, he was able to create something more: a new must see monument in Rome!