{"id":309177,"date":"2020-01-15T15:45:28","date_gmt":"2020-01-15T14:45:28","guid":{"rendered":"https:\/\/progettocultura.intesasanpaolo.com\/mostre\/umberto-mariani-frammenti-da-bisanzio-atto-terzo\/"},"modified":"2020-09-28T12:50:22","modified_gmt":"2020-09-28T10:50:22","slug":"umberto-mariani-frammenti-da-bisanzio-atto-terzo","status":"publish","type":"exhibition","link":"https:\/\/progettocultura.intesasanpaolo.com\/en\/exhibitions\/umberto-mariani-frammenti-da-bisanzio-atto-terzo\/","title":{"rendered":"Umberto Mariani. Frammenti da Bisanzio. Atto terzo"},"content":{"rendered":"<h3>In conversation with Russian icons from the collection of Intesa Sanpaolo<\/h3>\n<p>A new appointment at the Sala delle Colonne, Gallerie d\u2019Italia in Milan \u2013 the venue for themed exhibitions on major contemporary artists for some years now \u2013 pays homage to Maestro <strong>Umberto Mariani<\/strong>.<\/p>\n<p>In an evocative conversation between past and present,<strong> fourteen of the artist\u2019s works<\/strong> are <strong>juxtaposed<\/strong> with a group of five 17th- to 18th-century pieces selected from Intesa Sanpaolo\u2019s collection of <strong>Russian icons<\/strong>, considered by scholars to be the most important of its kind in the West.<\/p>\n<p>For some time now, Umberto Mariani (born in Milan in 1936) has been underlining the interconnections between the pared-down style of his work with different themes and moments in art history.<\/p>\n<p>The fold is the distinctive leitmotiv for his La forma celata series, in which Mariani works with lead sheets which then undergo an intensive colour treatment. Exquisite in visual and tactile terms, the fold is no longer superficial but becomes an image, a concrete shape, an \u201cicon\u201d. It was featured widely in his previous works, as a painted motif covering and concealing the letters of an alphabet with no powers of communication, making it \u201cvoiceless\u201d.<\/p>\n<p>The iconography of the saints and Biblical figures belonging to the Eastern tradition are defined by their drapery and colour palettes. These elements allude to a condition in which metaphysical geometrical forms create mystical representations, leading to an abstraction in space-time.<\/p>\n<p>The artistic encounter springs from what appear to be formal, almost secondary motifs. All this demonstrates how an artist like Mariani \u2013 who experimented with pop art in the 1960s before progressing to a type of painting that cancels out the value of significance, without ever denying the strength of representation \u2013 aspires to establish pictorial and symbolic values that transcend matter, illusion and visual deception, <strong>revealing the inexpressible, the ineffable and the unknown hidden behind the folds of reality<\/strong>.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"featured_media":104522,"template":"","class_list":["post-309177","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Umberto Mariani. Frammenti da Bisanzio. Atto terzo | Progetto Cultura - Intesa Sanpaolo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/progettocultura.intesasanpaolo.com\/en\/exhibitions\/umberto-mariani-frammenti-da-bisanzio-atto-terzo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Umberto Mariani. Frammenti da Bisanzio. Atto terzo | Progetto Cultura - Intesa Sanpaolo\" \/>\n<meta property=\"og:description\" content=\"In conversation with Russian icons from the collection of Intesa Sanpaolo A new appointment at the Sala delle Colonne, Gallerie d\u2019Italia in Milan \u2013 the venue for themed exhibitions on major contemporary artists for some years now \u2013 pays homage to Maestro Umberto Mariani. 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