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Fondazione Luigi Rovati: Cataloghi

New releases Vulci. Goods for Mankind. Goods for Gods
The exhibition “Vulci. Goods for mankind. Goods for gods” (20 March - 4 August 2024) hosted at the Fondazione Luigi Rovati inaugurates the cycle “Etruscan Metropolises”, a project for a series of exhibitions dedicated to some important Etruscan cities considered not only as urban and architectural realities, but also as places of historical complexity. The project stems from the Fondazione Luigi Rovati’s aim of arousing and rooting interest in the Etruscans among the public.The Etruscans are a people closely linked to the phenomenon of the city, they are the ones who invented it and the ones who spread it throughout their territory. The choice of the cities that will be presented through the “Etruscan Metropolises” cycle will be illustrative of the urban phenomenon and its historical and territorial variables but also of certain specific themes, since each exhibition will highlight the most representative and identity-related elements of each city.The first city presented is Vulci, one of the most dynamic in Etruria, the site of important manufacturing activities and a strategic junction in the Mediterranean trade routes. A city that stands out for the production of ceramics and bronze, as well as for their wide commercial distribution to Italy and in the Mediterranean.The catalogue traces the exhibition path, presenting the works in the following sections: simulacra of immortality; immigrant craftsmen, local craftsmen; the liminal landscape; from Athens to Vulci: travelling images; bronzes for war, bronzes for peace; clay devotion. The volume closes with in-depth texts on the history of the excavations conducted at Vulci and in its territory that present some unpublished findings and innovative methods of approaching archaeology. All this is enriched by the artworks of Giuseppe Penone, which express the contemporary nature of the hand gesture that becomes a vase, and from the Etruscans comes to present days. With texts by: Giuseppe Sassatelli, Mario Abis, Alessandro Conti, Sara De Angelis, Carlo Regoli, Chiara Pizzirani, Maurizio Sannibale, Laura Maria Michetti, Christian Mazet, Simona Carosi, Maurizio Forte, Carlo Casi and Giuliano Sergio.
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Vulci. Goods for Mankind. Goods for Gods

pages: 288 pages

The exhibition “Vulci. Goods for mankind. Goods for gods” (20 March - 4 August 2024) hosted at the Fondazione Luigi Rovati inaugurates the cycle “Etruscan Metropolises”, a project for a series of exhibitions dedicated to some important Etruscan cities considered not only as urban and architectural realities, but also as places of historical
New releases Giano-Culsans - Il doppio e l'ispirazione etrusca di Gino Severini. Dalle collezioni dell’Accademia Etrusca di Cortona
The exhibition "Giano-Culsans. Il doppio e l’ispirazione etrusca di Gino Severini. Dalle collezioni dell’Accademia Etrusca di Cortona" is dedicated to the theme of dualism and the double, in the two-faced, physical and symbolic relationship of dialectic and opposition. The protagonists are two Etruscan small bronzes from the 3rd century B.C., which are in turn compared with two sculptures by Gino Severini (1883-1966). The first of the two 3rd century BC Etruscan bronzes is Culsans, the Etruscan deity corresponding to the Roman Janus; the second is Selvans, god of the forest and agrarian activities.It is precisely from the Etruscan Culsans that Severini was inspired to create the two sculptures on display: the first is Giano bifronte, a bronze made in the early 1960s, while the second is a posthumous casting made at the behest of his daughter Romana Severini. Severini is an artist who has always shown interest in the Etruscan world, and more generally in the archaeology of his homeland with a strong connection to Cortona, his home town. An assiduous visitor to the Museo dell'Accademia Etrusca, he has often been inspired in his works by the finds preserved in the museum.The catalogue accompanying the exhibition, in addition to highlighting Severini's relationship with Etruscan art, delves into his bond with Pablo Picasso, another artist fascinated by the ancient world and the Etruscan one in particular, through the re-presentation of an exchange of letters dating back to 1958.
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Giano-Culsans

Il doppio e l'ispirazione etrusca di Gino Severini. Dalle collezioni dell’Accademia Etrusca di Cortona

Sergio Angori, Paolo Bruschetti, Giulio Paolucci, Romana Severini Brunori, Paolo Giulierini, Marco Belpoliti

pages: 88 pages

The exhibition "Giano-Culsans. Il doppio e l’ispirazione etrusca di Gino Severini. Dalle collezioni dell’Accademia Etrusca di Cortona" is dedicated to the theme of dualism and the double, in the two-faced, physical and symbolic relationship of dialectic and opposition. The protagonists are two Etruscan small bronzes from the 3rd century B.C., w
The Stele of Kaminia, the Etruscans and the island of Lemnos
The Stele of Kaminia, preserved at the National Archaeological Museum in Athens, is one of the three most illustrious inscriptions of antiquity that have guided generations of Italians to the Hellas in search of the past.Created in the 6th century B.C. as a tomb marker, and recovered between 1883 and 1885 on the island of Lemno, it was originally a couple of metres high but today only the upper half remains, with the profile of a man holding a spear and shield, who had distinguished himself in society for his virtues as a fighter. Around the figure and on the right side of the stone, two hundred letters of the Greek alphabet were engraved: a total of thirty-three words on eleven lines written in alternating directions, from top to bottom and then from bottom to top, or from right to left and then vice versa. But the language written in Greek is neither Greek nor Indo-European and belongs to the same family as Etruscan and Rhaetic, which was spoken and written in an area on the borders of Austria, Switzerland and Germany.Archaeologists, historians and linguists dealing with the Kaminia stele and its context are grappling with an unresolved question. Indeed, the question is whether the inhabitants of Lemno, as witnessed by the stele and other inscriptions, are of the same lineage as the Etruscans who migrated from Anatolia, with one group settled in Lemno and another arriving in Etruria, or whether they were Etruscans who came to Lemno from Italy to establish a colony or trading station and pirates in the Aegean. It is not easy to know what happened. The community that wrote on stone and terracotta in the Lemnian language is indistinguishable from other possible social and ethnic groups on the island, with whom they may have shared the same material and figurative culture, technologies, religious and funerary rites, and ways of life. If the Tyrrhenians of Lemno came from Etruria, they did not maintain contact with the motherland, according to the complete absence of objects manufactured in Italy. For the hypothesis of migration from Anatolia, we are completely unaware of the place of origin, culture and traditions. «No one has seen the truth, there is only opinion» (Simonide di Ceo).The history of the stele, and of the people of which it was an expression, is narrated in this book, which presents four texts signed by Carlo De Domenico, Riccardo Di Cesare, Germano Sarcone and Emanuele Papi, director of the Italian Archaeological School of Athens, in addition to the introduction by Emanuele Papi.
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The Stele of Kaminia, the Etruscans and the island of Lemnos

Emanuele Papi, Carlo De Domenico, Riccardo Di Cesare, Germano Sarcone

pages: 120 pages

The Stele of Kaminia, preserved at the National Archaeological Museum in Athens, is one of the three most illustrious inscriptions of antiquity that have guided generations of Italians to the Hellas in search of the past.Created in the 6th century B.C. as a tomb marker, and recovered between 1883 and 1885 on the island of Lemno, it was originally a
Tesori etruschi - La collezione Castellani tra storia e moda
The catalog is published in Italian with English text attachedThe exhibition “Etruscan Treasures. The Castellani Collection Between History and Fashion” (25 October 2023 – 3 March 2024), hosted at the Luigi Rovati Foundation and organized in collaboration with the Museo Nazionale Etrusco di Villa Giulia, brings to Milan the most important archaeological finds and extraordinary jewels of the Castellani collection, one of the richest and best-known Roman antiquarian collections, not only for the importance of the objects that compose it, but also for the relevance of the personalities who contributed to its creation during the nineteenth century.The name of the Castellani family is linked both to the invention of a new genre of jewelery and goldsmithery "in the style of the ancients", which imitated materials of archaeological origin in appearance and techniques, and to an intense activity of collecting and trading antiquities from the Peninsula, culminating in 1926 with the transfer of the largest core of the collection to the Museo Nazionale Etrusco di Villa Giulia.The possibility of exhibiting a selection of these objects, for the first time exceptionally outside their premises, allows us to appreciate not only the great variety of materials, but also the singular quality, which had long made the Castellani studio an obligatory stop for visitors to the Eternal City.The catalog follows the exhibition itinerary by presenting the works exhibited in the following sections: “Masterpieces”, “Mediterranean Productions”, “Women’s Life”, “Jewellery”, “Gods and Heroes” and “The Castellani Family”. With texts by Maria Paola Guidobaldi, Antonella Magagnini, Daniel Neumann, Valentino Nizzo, Giulio Paolucci, Giuseppe Sassatelli, Annalisa Zanni, the catalog is enriched by important contributions that add several new features to what was already known about the historical importance of the Castellani collection and on its characteristics, with particular attention to its intertwining of ancient and modern.
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Tesori etruschi

La collezione Castellani tra storia e moda

pages: 208

The catalog is published in Italian with English text attachedThe exhibition “Etruscan Treasures. The Castellani Collection Between History and Fashion” (25 October 2023 – 3 March 2024), hosted at the Luigi Rovati Foundation and organized in collaboration with the Museo Nazionale Etrusco di Villa Giulia, brings to Milan the most important arc
Diego, the other Giacometti
An untiring assistant and patient model, Diego Giacometti shared 40 years of life and work with his brother Alberto, in what was one of the most intense symbiotic relationships in the history of modern art. Diego’s creative career embraced sculpture and design, and his approach to the art of decoration was extremely personal. The furniture and objects he made  possessed a spare, severe, elegance, which was embellished by subtle references to past civilizations, starting with that of the Etruscans, and offset by the bronze he favoured. His instinctive liking for animals led him to portray them often, also in furniture, where they were not simply ornamental elements.  Indeed, they transformed the actual structure of the object, enlivened the internal volumes and made them even lighter and more airy, evoking the essential lines of a landscape. Diego shared these concepts with the famous interior decorator Jean-Michel Frank, with whom he worked on several occasions. As well as receiving many private commissions, Diego was invited to create projects for public institutions, from his work for the Musée National Marc Chagall to the decoration for the new Musée Picasso in Paris at the age of eighty, which definitively, and posthumously, consecrated him as an artist. In this catalogue, published on the occasion of the first Italian exhibition on Diego Giacometti at the Fondazione Luigi Rovati, curator Casimiro Di Crescenzo traces a biographical profile of the artist, sheds light on several aspects of the Giacometti brothers’ life in Paris, clarifies certain facts, and unearths interesting new information, also in Diego’s correspondence with family members. The four texts introducing the sections of works describe the main thematic nuclei of Diego’s production (sculpture, furniture, objects, depictions of animals), as well as his aforementioned role as a model for others, his father, and especially Alberto. The catalogue is enriched with essays by Roger Montandon, Eberhard W. Kornfeld and Henri Cartier-Bresson.
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Diego, the other Giacometti

pages: 224 pages

An untiring assistant and patient model, Diego Giacometti shared 40 years of life and work with his brother Alberto, in what was one of the most intense symbiotic relationships in the history of modern art. Diego’s creative career embraced sculpture and design, and his approach to the art of decoration was extremely personal. The furniture and ob

Fondazione Luigi Rovati

Art Museum

pages: 136

With texts by Lucio Rovati, Giovanna Forlanelli, Salvatore Settis, Mario Abis, Mario Cucinella, Giulio Paolucci and Martina Corgnati.The volume describes the genesis and operating principles of both the Fondazione Luigi Rovati, a material and immaterial infrastructure of the knowledge society, and the Museo d’arte in the Foundation’s headquarte
Il lampadario di Cortona - Dal collezionismo delle origini alle raccolte contemporanee
Italian edition onlyThe chandelier held by the Museo dell’Academia Etrusca in Cortona isone of the most renowned  Etruscan masterpieces.  Considered one of the finest examples of ancient bronze-work, itweighs more than a half a ton. The only Etruscan chandelier to have been found intact, it entered the collections of the museum after being discovered by chance and following complex negotiations for its acquisition. Today experts seem to agree that the monumental  lamp with 16 lips was made in a workshop located in the hinterland of central-southern Etruria, between Arezzo and Orvieto. An area that in the 4th century BCE was well equipped for a production of this kind, as indicated by the other large bronzes known to have originated there. The complex iconography, the remarkable quality of the casting technique, and the precious material, enable us to exclude the possibility of such a valuable artefact’s being installed in a private property. The most plausible hypothesis is that it was destined for a public sanctuary, where it would have been able to perform its function  uninterruptedly to great effect.The volume includes essays on the theme of lighting in the Etruscan world, antiquarian history, and the creation and analysis of the decorative apparatus of the chandelier. These are complemented by a selection of letters and documents taken from Nuove letture del lampadario etrusco (1988) and a new introductory essay by Paolo Bruschetti and Giulio Paolucci, written especially for the exhibition at the Fondazione Luigi Rovati Art Museum.
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Il lampadario di Cortona

Dal collezionismo delle origini alle raccolte contemporanee

pages: 112 pages

Italian edition onlyThe chandelier held by the Museo dell’Academia Etrusca in Cortona isone of the most renowned  Etruscan masterpieces.  Considered one of the finest examples of ancient bronze-work, itweighs more than a half a ton. The only Etruscan chandelier to have been found intact, it entered the collections of the museum after being disc

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