Wednesday, July 6, 2022 – 20:30
In the autumn, art returns to the cinema with Botticelli, Tiziano, Munch
It starts on October 3, 4, 5 with “Tiziano. The Empire of Color”
Rome, July 6 (askanews) – Nexo Digital’s La Grande Arte al Cinema returns to Italian cinemas with three new titles that will range from the Florentine Renaissance, with Botticelli’s meandering lines, to the sixteenth century of Titian with its vibrant and immediate colors energy. “of the Emporium Venetian”, up north of Edvard Munch, in constant oscillation between past and present, love and torment, vampire women, trolls and nymphs, obsessions and spirits.
It starts on October 3rd, 4th, 5th with Tiziano. The Empire of Color, a Sky production, Kublai Film, Zetagroup, Gebrueder Beetz and Arte ZDF. In the early 1500s, in a city covered in gold, hovering in admiration over a sunken forest, a boy descends from the Dogado Mountains to be remembered as “the most excellent of those who have painted”. An extraordinary master of color and an ingenious entrepreneur by himself, as innovative in the composition of a work as in knowing how to sell it, Tiziano Vecellio (1488/1490 -1576) became in a few years Serenissima’s official painter and the sovereign artist coveted by the richest and most famous courts in Europe. From Ferrara to Urbino, from Mantua to Rome to the Spain of Charles V and his son Philip II, Titian spanned the century, illuminating it with his paintings and inspiring artists from all subsequent epochs. Perfect interpreter of religion and mythology and portraits of immediate expressive power, he dominated his time and obscured his contemporaries, always keeping true to his motto: “art is stronger than nature”. The film is directed by Laura Chiossone and Giulio Boato and written by Lucia Toso and Marco Panichella under the supervision of Donato Dallavalle.
Munch arrives on November 7th, 8th, 9th. Love, Ghosts and Vampire Women, produced by 3D Produzioni and Nexo Digital and directed by Michele Mally, who also signs the script with Arianna Marelli. There is no more famous painter in the world, yet less known than Edvard Munch. If his “Scream” has become an icon of our time, the rest of his production is not so famous. Instead, Oslo, the old Kristiania, marks a turning point for the artist’s knowledge. The new MUNCH Museum – inaugurated in October 2021 – is a spectacular skyscraper on the fjord in the Norwegian capital, designed to house the painter’s enormous heritage for his city: 28,000 works of art, including paintings, prints, drawings, notebooks, sketches, photographs and cinematographic experiments. All this extraordinary heritage gives us a unique vision of the mind, passions and art of this northern genius. The documentary is bound to shed new light on Edvard Munch, a man of deep and mysterious charm, a forerunner and teacher of all who came after him. At the same time, it is also a journey through Munch’s Norway, in search of a universal artist’s roots and identity to try to question the main theme of his multifaceted work: his idea of time. Munch wrote: “I do not paint what I see, but what I have seen”. And in fact, he repeated his motifs, painting and painting the same pictures to keep them in his studio, which laid the foundation for the practice of multiples. His concept of Time was a delicate and original balance between past and present, a tool to live its existence, a bridge over the dimensions of the universe to get in touch with the world of ghosts and spirits. Contributed by Leif Ove Andsnes, Pianist; Giulia Bartrum, Øivind Lorentz Storm Bjerke and Elio Grazioli, art historians; Stein Olav Henrichsen, director of the MUNCH Museum in Oslo; Erik Höök, director of the Strindberg Museum in Stockholm; Iver Kleive, Composer; Siri Kval Ødegård, Soprano and Entrepreneur; Carl-Johan Olsson, curator of 19th-century painting at the National Museum in Stockholm; Sue Prideaux, author and cinema; Frode Sandvik, curator Code in Bergen; Linn Solheim, Restaurateur; Jon-Ove Steihaug, director of the exhibition and collection department at the MUNCH Museum in Oslo; Gunnhild Øyehaug, Author.
November 28, 29 and 30 are the long-awaited Botticelli and Florence tour. The Birth of Beauty, with the narrative voice of Jasmine Trinca, produced by Sky, Ballandi and Nexo Digital, conceived and written by Francesca Priori and directed by Marco Pianigiani. Beauty, creativity, genius: Lorenzo de ‘Medici’s renaissance Florence, known as the magnificent, is a concentrate of art and culture. But it’s not just this. Among the countless shops and government buildings, so much beauty exists along with the dark side of the city, consisting of struggles for power and intrigue of brutal violence. Most of all, an artist was able to project the lights and shadows of an era destined to remain unforgettable in his works: Sandro Botticelli (1445-1510). We relive the workshops of Florence through Botticelli’s life, collaborations, challenges and successes. From his debut under the wing of the Medici, Botticelli imposed himself as the inventor of an ideal beauty, which finds its maximum expression in works such as The Birth of Spring and Venus. The death of Lorenzo Il Magnifico, the apocalyptic sermons of Girolamo Savonarola and the bonfire of vanities mark the declining parable of the Florentine master destined for oblivion for over three centuries. The rediscovery of Botticelli by the pre-Raphaelites gives rise to an authentic Botticelli mania, which continues from the 19th century to the present day. From Salvador Dalí to Andy Warhol, from David LaChapelle to Jeff Koons and Lady Gaga, no one seems immune to the eternal charm of Botticelli and his works, constantly recreated by artists of all kinds, to the point that they enter in the collective imagination. Refined artist, revolutionary portrait artist, extraordinary interpreter of his time: this is Sandro Botticelli, the inventor of beauty.