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You are in: Home » Events and shows » Exhibitions » Musée d’Orsay. Capolavori
Date: from 2014-02-22 to 2014-06-22

Opening times

22 February - 22 June, 2014
Monday-Thursday: 9.30 - 19.30;
Friday and Saturday: 9.30 - 23.30;
Sunday: 9.30 - 20.30.

Last admission 1 hour before closing time.

Address

Address: Via di San Pietro in Carcere
Zone: Rione Campitelli (Foro Romano- Campidoglio-P.Venezia) (Roma centro)
Presso Ala Brasini del Complesso del Vittoriano

Information

Intero: € 12,00
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Ridotto: € 9,00
Under 26, over 65, militari con regolare tessera di riconoscimento, giornalisti con regolare tessera dell’ordine nazionale

Possessori Card
Titolari di Carta Fedeltà Trenitalia, Biglietto Eurostar e Frecce (arrivo a Roma), Carte Frecce Trenitalia, Bibliocard, Teatro-Eliseo, Interclub, Roma Pass,FAI, Ass. S. Cecilia
*La riduzione potrà essere applicata previa presentazione della tessera nominale

Dipendenti
CINECITTA' LUCE, ENI,GTECH-AIR FRANCE
* La riduzione potrà essere applicata previa presentazione del tesserino di lavoro
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Gratuito: bambini fino ai 6 anni, diversamente abili con accompagnatore, guide turistiche regione Lazio, un accompagnatore per ogni gruppo prenotato, dipendenti Ferrovie dello Stao italiane (per l'accompagnatore ingresso ridotto),dipendenti GSE (per l'accompagnatore ingresso ridotto).

Contacts

Telephone: +39 06 6780664 info
Online purchase: www.listicket.com
Telephone purchase: 892.982

Description

Musée d'Orsay. Masterpieces, from 22 February to 8 June in the Brasini Wing of the Complesso Monumentale del Vittoriano in Rome.
"Musée d'Orsay. Masterpieces", curated by Guy Cogeval and Xavier Rey, is arranged in five sections: the first concentrates on the art of the Salon, which forms the original nucleus of the museum's collection, and compares it with the then-emerging and much disparaged realism; the reappraisal of academic painting by artists such as Cabanel, Bouguereau and Henner, who achieved particular prominence in the years between 1860 and 1870, contemporaneously with the birth and affirmation of the realist painting of Courbet.
The second section illustrates the changes in landscape painting introduced by the Barbizon School, which signalled the beginning of the impressionistic study of light. The painters who populated Barbizon's world paved the way, through their atmospheric studies, for the impressionist landscapes, while nevertheless retaining a certain poeticism in their work.
There follows a section dedicated to modernity of the impressionists. Despite their interest in the representation of the effects of light in the open air, their work was not restricted to landscapes and the pleasures of the countryside. On the contrary, the impressionists sought a connection between the modernity of their technique and their subjects And Paris, as the symbol of excellence in the transformations brought about by industrialisation and technological development, provided a vast range of new subjects. "The new painting‘, as impressionism came to be called, had to abandon the old models inherited from the past in order to keep up with the accelerate pace of nineteenth century civilisation.
The exhibition then moves on to examine the evolution of painting in the second half of the nineteenth century as represented by Symbolism. Having closely studied the lessons of impressionism, the artists who followed Gauguin to Pont Aven, in a Brittany that was still considered very far from the century's transformations, groups such as Les Nabis invented new forms that gave their work a special emotive content.
The show concludes with the legacy of impressionism, the significance of which was both immense and almost immediate. Starting in the 1880s the pointillists pushed to the limits the chromatic separations introduced by the impressionists. Some of the impressionists abandoned realism. Monet, for example, whose colours are always independent of nature and applied with ever-increasing brushstrokes. The abandonment of perspective was now definitive and experimentation flourished, from the cloisonnisme of Gauguin to Les Nabis, who reaffirmed the decorative dimension of painting in large formats. In a certain sense, thanks to the complexity of the new techniques, the majesty and grandeur of classical painting was re-established while, at the same time, opening the doors for the avant-garde movements of the twentieth century.

Last checked: 2014-05-30 10:26