Arezzo welcomes a major retrospective exhibition dedicated to Marino Marini (Pistoia among the greatest exponents of twentieth-century sculpture articulated in two venues: the Municipal Gallery of Modern and Contemporary Art and the Medici Fortress more than one hundred works including paintings bronzes and plaster casts tell the complexity of the artist’s creative journey is curated by Alberto Fiz and Moira Chiavarini with scientific coordination by Alessandro Sarteanesi and is promoted by the City of Arezzo and the Fondazione Guido d’Arezzo with the planning of the cultural association Le Nuove Stanze and Mainz After the solo exhibition dedicated to Afro Basaldella the initiative continues the reconnaissance of the Italian Novecento proposing an in-depth investigation of Marini’s work.“The double exhibition proposed in Arezzo,” explains Alberto Fiz "astonishes for the topicality of a great master of sculpture who subjects the form to continuous verification by carrying out a revolution that develops through a precise awareness of history and man His is the ability to capture an inner time where restlessness and suffering do not subside." The installation is developed in two complementary paths: the Municipal Gallery houses a selected corpus of paintings while the Medici Fortress hosts monumental sculptures and large-scale works The exhibition is made possible thanks to loans from the Marino Marini Museum in Florence and the Marino Marini Foundation in Pistoia institutions that are custodians of the artist’s legacy The aim of the project is to return an articulated vision of Marini’s work traversing the main phases of his research from the second decade of the twentieth century to the 1960s the investigation takes on a strong thematic connotation and aims to build a dialogue between the two-dimensional dimension of painting and the plastic dimension of sculpture Marini’s visual language is examined at its fundamental junctures: from the construction of mythical and harmonious forms to the progressive tension toward more fragmented and dynamic formal solutions One of the distinctive aspects of the installation at the Gallery is the relationship with the ancient The venue is located next to the Church of San Francesco which houses the fresco cycle of Piero della Francesca’sToriesof the True Cross The comparison between Marini’s figures and those of the Renaissance master is made explicit by works such as The Virgins of 1916 and Cavalieri’s Zuffa of about 1927 which evoke the composition and pathos present in the Bacci Chapel Adding to this dialogue is an additional element: the presence in the exhibition of Hellenistic terracotta sculptures found in the Catona excavations in Arezzo preserved at the Gaio Cilnio Mecenate National Archaeological Museum Marini came to know them through a 1920 publication in the magazine Dedalo which played a decisive role in the formation of his plastic imagery The exhibition offers juxtapositions such as that between The Angel of the City exploring a poetic dimension that runs through Marini’s entire production Other thematic nuclei include the room dedicated to the Screams a recurring subject in the poetics of the artist who defined these female figures as the most authentic expression of his formal identity arise according to Marini from a confrontation between inner culture and outer reality and for him they represented tools of psychological investigation starting points for exploring the human condition The exhibition includes effigies of artists such as Carlo Carrà as well as that of composer Igor Stravinsky The tour at the Medici Fortress focuses attention on monumental sculpture The architectural setting enhances the expressive characteristics of the works among which the monumental versions of Pomones The Horseman of 1949-50 stands out for its hieraticity and plastic power Also of particular note is Miracle of 1952 in which the artist seeks an extreme verticality Marini describes the intent of this work as a desire to “pierce the earth’s crust” and project “into the stratosphere,” signifying the ascending tension of the form The exhibition closes with a broader reflection on Marini’s poetics which is based on a generative conception of form his work starts from the assumption that “no memory is lost,” but that every epoch can be recovered through a participatory feeling of human becoming The turning point comes with the rupture of geometric balances and the elaboration of autonomous irregular and free forms that break free from the subject This approach allows Marini to profoundly affect the language of contemporary art overcoming any temptation to static classicism Accompanying the exhibition is a bilingual (Italian and English) catalog published by Mainz with critical texts by curators Alberto Fiz and Moira Chiavarini and contributions by Luca Pietro Nicoletti and Giovanni Curatola The installation images are signed by photographer Michele Alberto Sereni Please select what you would like included for printing: Copy the text below and then paste that into your favorite email application This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply Service map data © OpenStreetMap contributors A village in celebration with flower-decorated floats La Maggiolata represents Lucignano’s first and most significant event This event has its origins in the Tuscan and local agricultural tradition embodying a sort of spring rebirth after the winter months the festival retains well-defined connotations characterised by the evocative parade of floats decorated with flowers accompanied by bands and folkloric groups from all over Italy and beyond The historical procession anticipates and announces the highlight of the celebration while the various districts compete for the prize for the most splendid float creating a striking colour mosaic that contributes to the enchantment of the event Contacts: + 39 334 7524265 info@maggiolatalucignanese.it maggiolatalucignanese.it Paul’s Supper Club bring wood-fired pizza to 50th and France The 50th and France shopping district is getting a new pizza place in mid-October in the former Arezzo  Ristorante space. After 20 years in operation, the landlord declined to renew the Italian eatery’s lease so it could be replaced with something “new and fresh,” according to Bring Me the News Paul’s Supper Club “let the good times roll” stickers lined the windows around the 5057 France Ave Paul’s Supper Club are also running Mothership Pizza Paradise– Chef Tommy Begnaud Wood-fired Neapolitan pizzas and handmade pastas will be Mothership Pizza Paradise’s focus with a small plate menu of cured and crudo meats, salads, and roasted vegetables. The restaurant will also serve cocktails, beer, and wine. The City Council approved the new restaurant’s liquor license in August. The restaurant will be able to seat 50 people including the bar area. “We’ve poured our hearts into creating a space where people can come together to enjoy great food and great company,” Begnaud said in a press release. “We can’t wait to welcome the community into this new home.” Mothership Pizza Paradise pays homage to Begnaud’s late mother and to all moms. As a noted theme, Begnaud dedicated Mr. Paul’s Supper Club to his grandfather. 09 Apr 2025 16:00:00 GMT?.css-1txiau5-AnswerContainer{color:var(--GlobalColorScheme-Text-secondaryText2);}Arezzo won 1–0 over Pescara on Wed Predicted lineups are available for the match a few days in advance while the actual lineup will be available about an hour ahead of the match The current head to head record for the teams are Pescara 2 win(s) Have scored 5 goals in their last 5 matches 09 Apr 2025 16:00:00 GMT?Arezzo won 1–0 over Pescara on Wed 09 Apr 2025 16:00:00 GMT.InsightsHave scored 10 goals in their last 5 matches Pescara is playing home against Arezzo on Wed AREZZO (4-3-3): Trombini; Renzi, Gilli, Chiosa, Righetti; Mawuli (from 69' Chierico), Guccione (from 84' Santoro), Dezi (from 84' Damiani); Pattarello (from 90' Capello), Ravasio (from 90' Ogunseye), Tavernelli. Coach Bucchi Substitutes Galli, Borra, Montini, Settembrini, Fiore, Gigli, Bigi, Coccia. GUBBIO (4-3-3): Venturi; Zallu, Signorini, Rocchi, Tentardini (from 69' David); Iaccarino, Rosaia, Corsinelli; Spina (from 75' Tozzuolo), Tommasini, D'Ursi. Coach Fontana Available: Bolletta, Di Vincenzo, D'Avino, Franchini, Di Massimo, Rovaglia, Stramaccioni, Faggi, Maisto, Conti, Proietti, Giovannini. REFEREE: By Francesco from Ostia Lido (Taverna-Peloso); VAR Fourneau of Roma1, AVAR Allegretta of Molfetta MARKERS: 11' Corsinelli, 29', 63' Ravasio, 80' Pattarello (r) NOTE: corner 5-5; yellow cards: Mawuli, Rosaia, Guccione, Tentardini, Rocchi, Ogunseye; Signorini sent off in the 73rd minute for DOGSO; recovery time: 1st half; 4th half. Tac (Non Stop x Toulon) won Friday's CSI4* 1.50m Grand Prix qualifier at the 2025-edition of Toscana Tour in Arezzo Besting a field of 96 horse-and-rider combinations the former world number one took the win with a time of 40.07 after a jump-off of 12 Jack Whitaker (GBR) and Equine America Valmy de La Lande (Mylord Carthago x Starter) took the runner-up spot only fractions behind in 40.12 while Jens Baackmann (GER) and Zealand 3 (Zinedine x Tinka's Boy) placed third Harm Lahde (GER) on Oak Grove's Commander Bond (Comme Il Faut 5 x Lux Z) finished fourth in 42.62 followed by Roy van Beek (BEL) aboard Cavoiro - H Old (Casallco x Calido I) in fifth in 43.15.  © 2025 World of Showjumping - All rights reserved Powered by Artionet - Generated with IceCube2.Net The charming historic center of Anghiari will offer visitors a stroll through streets and squares animated by artisan and artistic “workshops” the Mostra Mercato dell’Artigianato della Valtiberina Toscana has been the crown jewel of Anghiari and the Valtiberina area attracting numerous visitors to the medieval town’s workshops and reaffirming its role in the world of high-quality craftsmanship The event offers the opportunity to admire a wide range of artisanal products This fascinating route makes a visit to the Tuscan town even more enjoyable as Anghiari is already a place of great artistic and architectural interest A special focus will be placed on artistic craftsmanship in the Council Hall of Palazzo Pretorio with the exhibition “The Arts Between the Tiber and Arno.” Numerous events will accompany the exhibition days including the conference on April 28 at the Anghiari Theater titled “Generational Change in the Tuscan Artistic Craft Sector,” featuring the awarding of the Leonardo Da Vinci Prize to artisans and students from art-focused high schools Among the highlights are the unmissable masterclasses where artisan masters will demonstrate their expertise in the heart of Anghiari sharing their skills and the art of craftsmanship with attendees > Download map OPENING HOURS The artisan workshops will be open from 10:00 AM to 7:30 PM Contacts: +39 0575 749279 mostramercatovaltiberina@gmail.com mostramercatovaltiberina.it It’s time to celebrate at the Teatro Virginian as the new theater season kicks off aptly titled “Party Time.” The company La Filostoccola which has managed and directed the Teatro Virginian for over eleven years presents a rich program of events with performances for both adults and children 2024 5:00 PM CINDERELLA FOLK (for children) by Teatro Invito written and directed by Luca Radaelli starring Stefano Bresciani and Davide Scaccianoce 2024 9:00 PM 130 PERFORMANCES OF THE NAME OF THE ROSE written and performed by Marco Gobetti 2024 5:00 PM SPRINGTIME CHEF (for children) by Centopercento Teatro starring Chiara Cervati and Alice Natale 2024 9:00 PM THE PIANIST ON THE OCEAN by Chierici/Cicolella 2024 5:00 PM THE CRAB PRINCE AND OTHER SEA TALES (for children) with “The Storytellers” Franco Picetti and Daniela Cecchi 2024 9:00 PM SHAMELESS – A SHOW THAT GENTLY PUSHES BOUNDARIES written and performed by Lisa Moras 2025 5:00 PM THE FOUR MUSICIANS OF BREMEN (for children) starring Emanuela Faraglia 2025 9:00 PM THE UPSIDE-DOWN CIRCUS by Teatro delle Temperie written and performed by Andrea Lupo THE COLOR OF HAPPINESS (for children) by Pilar Ternera written and performed by Francesco Cortoni and Silvia Lemmi 2025 9:00 PM 5 MINUTES by Teatro del Cerchio starring Mario Aroldi and Gabriella Carrozza 2025 9:00 PM MUCH PAIN FOR NOTHING by Atto Due starring Luisa Borini 2025 5:00 PM BEAUTY AND THE BEAST – Or a Rose Is Not Just a Rose (for children) by La Contrada Teatro starring Enza De Rose 2025 5:00 PM DON QUIXOTE – Tales of Tin and Struggle (for children) by NATA Teatro starring Enza De Rose 2025 9:00 PM THE INNKEEPER by Teatro Europeo Plautino starring Noemi Apuzzo and Soccer Players by La Filostoccola written and performed by Giorgio Castagna Full Price / € 12.00 Reduced Price / € 10.00 Children’s Theater / € 7.00 Tickets for the theater season events are available on the day of the performance at the Teatro Virginian Contacts: +39 334 3385046 +39 349 5299372 info@lafilostoccola.it lafilostoccola.it This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Mothership Pizza Paradise is taking over the former Arezzo Ristorante space at 5057 France Avenue South which fell vacant with the longtime Italian restaurant’s closure in early 2023 Paul’s co-owner and operator Courtney Briden are behind the new restaurant which Begnaud said will serve Brooklyn-style pizza The 52-seat restaurant’s liquor license received approval from Minneapolis’ Business told the committee the restaurant will have televisions and a neighborhood feel "We’re parents of a couple high school kids so we want to make sure we embrace the community and have families and sports teams and this and that," he said “Think Shakey’s Pizza meets the aesthetics of Mr Paul’s Supper Club,” he added Mothership Pizza Paradise will create around 35 jobs While an opening date hasn’t yet been announced city documents show the restaurant is planned to operate Tuesday through Sunday from 11 a.m a screening of the movie Sight and Sound says is the best movie ever made saying he'd killed the mother of his child which features a swimming beach and splash pad Paul's Supper Club in the Nolan Mains development the restaurant concept draws inspiration from migration one of the cornerstones of Pietro Lorenzetti’s production one of the references for the reconstruction of the vicissitudes of the arts in Siena in the early fourteenth century as well as one of the most documented works of its time: it was commissioned by the then bishop of Arezzo who called the Sienese artist to Arezzo (we are left with the contract of allogation of the work) This is therefore the first time it has been lent for an exhibition several hours’ flight from its natural home from the place where the Tarlati Polyptych has always remained it will no longer be possible to say that that work has never left its natural home And all this for an exhibition built primarily around the collector cores of the Metropolitan Museum and National Gallery and thousands of miles away from its context It is as if Siena were to organize an exhibition on the Impressionists: it may be an obviously excellent and thorough review but it will never have the same value as an exhibition on the Impressionists organized in Paris in the midst of the places the Impressionists frequented close to the museums that preserve their fundamental masterpieces The same applies to an exhibition of fourteenth-century Sienese art held in New York The Tarlati Polyptych is then not the only other “Arezzo” work by Lorenzetti exhibited in New York his Shaped Crucifix also left for the United States The decision for both loans was made by the Diocese of Arezzo following negotiations with the Met that started as far back as 2019 although nothing leaked out for years: only this summer in some articles that appeared in the American press did a photograph of the Pieve Polyptych begin to circulate (without being mentioned as part of the exhibition) and only after the overseas trip had now taken place was the news given proper prominence the Metropolitan Museum and the National Gallery in London secured funding for the restoration of the Transit of St a work from 1662-1672 kept in the Co-Cathedral of Santa Maria Assunta in Cortona refused to send Piero della Francesca’s Madonna del Parto to Florence for an exhibition And the days when Cesare Brandi lashed out at the Monterchi administration for deciding to lend Piero della Francesca’s masterpiece (curiously enough always to the Metropolitan) in exchange for resources intended to improve its exhibition conditions also seem long gone Today no one raises the slightest objection if a key masterpiece by Pietro Lorenzetti a work never removed from its church except when strictly necessary for its survival is boarded on a plane and sent overseas in exchange for the restoration of a work by Lorenzo Berrettini Many are then the questions that such an operation raises: if even a work which has extremely rare characteristics (i.e. a polyptych executed by one of the great names in the history of Italian art documented like few other works of its era is deemed lendable for an exhibition that on paper does not appear to be essential then does it still make sense to speak of immovable works Is it proper for two such important works by Pietro Lorenzetti to be loaned for so long (almost a year) in exchange for the restoration of a work by Lorenzo Berrettini Is a restored Lorenzo Berrettini worth two trips Are we still convinced that lending an important work lends luster to the city from which the work departs isn’t depriving Arezzo for almost a year of one of its most important works is perhaps the message that the exhibition’s curator sent to Arezzo Mayor Alessandro Ghinelli: “Dear Mayor They arrived shortly after midnight.” Lo and behold if it is necessary to stand by with bated breath while a seminal masterpiece by Pietro Lorenzetti it means that perhaps we need to think very deeply about the casualness with which capital works of art are lent Harrie Smolders and the thirteen-year-old BWP-gelding Mr. Tac (f: Non Stop) jumped to victory in the Grand Prix qualification this afternoon Harrie Smolders and Mr. Tac (Non Stop x Toulon breeder: Edmond Meyers) jumped to victory this afternoon in the 1.50m course at the Grand Prix qualification The Italian Nico Lupino secured second place on home soil riding the Westfalen stallion Iniesta (Balloon x Cornet Obolensky German rider Jens Baackmann completed the podium with the Livello son the entire top five was dominated by the French tricolor with Nicolas Sers in fourth and Alix Ragot in fifth place Sers finished fourth with the SF- stallion Eleven de Riverland (Kannan x Diamant de Semilly) while Ragot ended in fifth with QH Sole Mio Santo Antonio (Canvas Plus x Diabeau) Results 24 Feb 2025 19:30:00 GMT?.css-1txiau5-AnswerContainer{color:var(--GlobalColorScheme-Text-secondaryText2);}Arezzo won 2–0 over Rimini on Mon The current head to head record for the teams are Rimini 0 win(s) Have scored 6 goals in their last 5 matches Arezzo haven't lost to Rimini in their last 5 meetings (3W 24 Feb 2025 19:30:00 GMT?Arezzo won 2–0 over Rimini on Mon 24 Feb 2025 19:30:00 GMT.InsightsHave scored 6 goals in their last 5 matches Rimini is playing home against Arezzo on Mon The announcement came from Mayor Alessandro Ghinelli who called the Corridor a unique example of the artist’s Renaissance genius recalling how it was designed and built in Arezzo at the same time as the more famous Florentine work.The reopening of the Corridor which will be preceded by a brief restoration between February and May is the culmination of Vasari’s celebrations An event intended to consolidate the bond between the city and the great artist author of The Lives of the Most Excellent Painters one of the fundamental texts in the history of Western art The new restoration is designed to return to the city a space fundamental to its historical identity. The reopening will follow the great success of the international exhibition on Vasari(here is our review) visited by nearly 25,000 people and extended until March 2 in response to the high influx of visitors Arezzo’s Vasarian Corridor represents one of the most fascinating examples of Renaissance architecture and is inextricably linked to the construction of the Piazza Grande Loggias The building of this extraordinary architectural work began in 1572 to a design by Giorgio Vasari The Loggias were conceived as a succession of twenty bays and arches resting on pillars with a longitudinal development that was to extend from Via di Sassonia (today Via dei Pileati) to the “canto dei Sinigardi” (today Piaggia di Murello) The direction of the work passed from the master Vasari to the master builder Alfonso Parigi already engaged in the Uffizi building site in Florence and sent to Arezzo by the same artist Parigi continued the work until the end of the century ensuring the realization of a structure that is still striking today for the balance of its proportions and the refinement of its details One of the Corridor’s most distinctive elements is the round archway that connects the Palazzo della Fraternita delle Logge to the new Loggias ideally closing off the space that opens from the square toward Corso Italia a small loggia on pilasters offers an additional touch of elegance to the structure as evidenced by the two grand ducal coats of arms sculpted by Andrea di Matteo da Settignano was referred to in documents of the time as a “flyover” and featured a sill about 4.5 fathoms long was added only in the first decades of the 17th century This intervention was made necessary to enable the Rectors of the Fraternita dei Laici to move comfortably from the palace to the theater after the completion of the aqueduct and the paving of the hall intended for theatrical performances attests that the Fraternity requested permission from the Magistrate of the Nine to cover the corridor This modification transformed the work into an enclosed and functional space but without affecting its architectural harmony The year 2024 marks the 450th anniversary of the death of Giorgio Vasari is hosting a major commemorative event entitled Vasari curated by Cristina Acidini with the collaboration of Alessandra Baroni that will bring together more than 100 works including monumental altarpieces many of them from prestigious institutions such as the Metropolitan Museum of Art in New York theAlbertina Museum in Vienna and the Musée du Louvre in Paris as well as national treasures held by the Uffizi Galleries and other Italian museums.The exhibition at the Municipal Gallery of Modern and Contemporary Art and the spaces of theformer Church of Sant’Ignazio is the culmination of a larger celebratory program entitled Arezzo promoted by the City of Arezzo and the Fondazione CR Firenze with Fondazione Guido d’Arezzo aims to raise awareness and appreciation of the work of the celebrated Arezzo artist and his central role in the history of 16th-century art The Theater of Virtues focuses on one of the most significant aspects of Vasari’s artistic production: his innovative use of allegory Through a symbolic language that mixes the sacred and the profane Vasari celebrated the figure of his patron and explored themes deeply connected to the culture of his time Representing the evocative power of allegory will be the famous Chimera the Etruscan bronze preserved at the National Archaeological Museum in Florence discovered in 1553 during excavations ordered by Cosimo de’ Medici himself will be displayed as a symbol of an ancient civilization intertwined with the emerging modern Tuscan identity and a witness to Vasari’s ability to link art to political propaganda drawings and manuscripts from major international and private collections It will feature works by Vasari and his contemporaries offering a broad cross-section of the artist’s dense network of relationships with the leading patrons and intellectuals of his time Prominent among them will be masterpieces previously unseen or rarely seen in Italy such as theAllegory of Sleep and theAllegory of Oblivion on loan from the Metropolitan Museum of Art in New York There will be no shortage of grand altarpieces such as theAllegory of the Immaculate Conception from the Church of the Holy Apostles in Florence and theAdoration of the Magi from the monumental complex of Santa Croce which rarely leave their original locations represent some of the most significant masterpieces of Vasari’s artistic production The exhibition will be divided into eight sections each exploring a crucial aspect of Vasari’s career will be devoted to his figure as an artist and architect and his relationships with artists such as Bronzino and Stradano author of theUffizi Self-Portrait that celebrates Vasari’s role at the grand duke’s court The section The Young Vasari: An Education of Excellence will document the artist’s humanistic education and his early emergence as a painter with masterpieces from his early Florentine phase such as the Temptations of St A special focus will be placed on The Apotheosis of the Virtues devoted to the birth of allegorical language in Vasari with works such as the preparatory study for the fresco of the Room of the Elements in the Palazzo Vecchio where allegorical symbols assume central importance A particularly interesting section will be on La Chimera in which Vasari ’s role as a skilled communicator in the service of Medici propaganda will be analyzed represented the triumph of Tuscan civilization under the rule of Grand Duke Cosimo Attention will then turn to the founding of the Accademia delle Arti del Disegno which took place under Vasari’s supervision the collaborations between the artist and prominent figures such as Salviati Drawings will be the protagonists of the exhibition Il Disegno Father of the Arts ) while concluding the itinerary will be the section Pitture monumentali in chiese e basiliche (Monumental Paintings in Churches and Basilicas ) with four spectacular altarpieces that Vasari painted between 1545 and 1569 none of which ever left its original location during the last two centuries specific educational paths have been created to involve even the youngest audience The"Meet Giorgio Vasari" project offers interactive and playful experiences for children and young people from kindergarten level up to secondary schools with the aim of making art accessible to all This educational approach aims to stimulate curiosity about the art world through participatory and innovative activities Carrying out the visits will be the staff of La Casa sull’Albero bookstore which in 2019 won the Andersen Prize as the best Italian children’s bookstore “The Vasarian Year has brought Arezzo to the center of national artistic interest,” says Alessandro Ghinelli "and has contributed decisively to affirming its acquired characteristic as a city of art and culture chosen as a privileged destination by an ever-increasing number of national and international visitors: to them all the events that have taken place so far Teatro delle Virtù will offer a special opportunity to appreciate the extraordinary beauty it preserves and to admire the genius of Vasari a multifaceted artist and sensitive interpreter of his time." “This international exhibition,” says Bernabò Bocca this fascinating journey into ’planet Vasari’ that our Institution has supported with great conviction A journey full of proposals and events that combine a strong popular aspect that has been greatly appreciated by the public A program that also marked a model of happy public-private synergy that brought together together with the Arezzo municipal administration along with scholars and experts of the highest level We must increasingly know and value our most illustrious past to better understand what is happening to us and why it represents our roots “Giorgio Vasari was a protagonist of Italian and European culture,” adds Francesco Macrì “The 450th anniversary of his death has been identified by the Guido d’Arezzo Foundation as an opportunity to reflect not only on this artist architect and writer but also on 16th-century society and culture A high-profile project that Estra has decided to share in relation to its constant attention to the history and culture of the territories in which it carries out its function which is not only entrepreneurial but also an active part of the local community in all its different expressions.” Cutolo, what are your feelings about this renewal? "I'll start by saying that for me there was no need, given how much the line is shared with President Manzo. I thank him because it is something that gratifies me, in addition to giving further impetus to the objective of making this company grow". "Yes, it goes hand in hand with mine and is always the result of a choice shared with the owners. In the last two months the team has had an incredible journey with important numbers. Now in the playoffs everything will be reset but in him we have identified the ideal figure for our technical project, very ambitious". What has changed with the new technical guide in these months? "When you change a coach it's never easy, because you're never sure you've made the right choice. Something had jammed and Bucchi was good at touching the right chords in a group that has always had a lot of quality and that was sixth in the standings. There was a foundation, in short, even if he knew how to put his own spin on it: the team now takes to the field with a strong and clear identity". Now that the championship is over, what is your assessment of this season, while waiting for the playoffs? "Overall the balance is positive. There have been ups and downs, it's true, but it must be said that, at the beginning and during the course, many new players were brought in, even in a consolidated group. Consequently, it took a bit of time to create the amalgamation. However, the team ended on a high and has always been in the left part of the standings". The playoffs start on Sunday. What kind of game do you expect against Gubbio? "All games are difficult, let alone the playoffs. We're playing everything in a one-off match, which can be affected by incidents. Gubbio came running but they were built for this objective, if not for something more." "Six years ago I experienced the playoffs as a footballer and I can say that you have to think about it from game to game. Now, from the outside, I try to convey serenity: they have to live it as they have done so far, with awareness but also lightness, in the good sense of the word. It is undeniable that we got there well, as demonstrated by the victory against Pianese despite the turnover to save the cautioned players. It means that the team is on the ball". 22 Mar 2025 18:30:00 GMT?.css-1txiau5-AnswerContainer{color:var(--GlobalColorScheme-Text-secondaryText2);}Arezzo won 1–0 over Milan Futuro on Sat The current head to head record for the teams are Arezzo 0 win(s) Haven't scored in their last 2 matches Who won between Arezzo and Milan Futuro on Sat 22 Mar 2025 18:30:00 GMT?Arezzo won 1–0 over Milan Futuro on Sat 22 Mar 2025 18:30:00 GMT.InsightsHave scored 5 goals in their last 5 matches Arezzo is playing home against Milan Futuro on Sat Annibal Caro expresses to Giorgio Vasari his desire to take possession of one of his works suggesting that it would be better if the work were done with some haste: not so much because Annibal Caro was in a hurry (and he had managed to find a brilliant justification for it anyway) but because he was convinced that things born of “furore,” understood as a poetic impulse an assumption that is as valid for painting as it is for poetry to the point that Caro does not hesitate to tell his friend “that you are as much a poet as a painter.” The Horatian concept of ut pictura poësis that emerges explicitly from Annibal Caro’s letter is central not only to thoroughly enjoy that Theater of Virtues put in the title of the exhibition that Arezzo is dedicating to its artist this year to mark on the calendar the four hundred and fiftieth anniversary of his death but also to understand more fully fullness of Giorgio Vasari’s personality to understand who was that personage whom today the general public tends to consider mainly for his historiographical work or for some of his paintings on which our eyes have fallen during a visit to some museum but who in reality stands as a decidedly more complex figure one could do an exercise: try to imagine who might be What job would the Giorgio Vasari at the height of his career do today since painting in 2024 is certainly not the most relevant art in public discourse) an effervescent animator of cultural debate a filmmaker capable of carving out a role for himself as an intellectual (we imagine him writing in newspapers with a keen interest in the history of cinema (indeed: a filmmaker who establishes a revolutionary theory of cinema) often engaged in the creation of institutional campaigns prone to forays into the other arts in which he was trained without neglecting pronounced skills as a marketing man And even imagining such a figure we would still not have a complete idea that corresponds to Vasari’s perception of himself: the discrepancy is due to the public image of the artist in the sixteenth century.Before Vasari in spite of the claims of visual artists and in spite of the considerable prestige that painters and architects had seen progressively recognized for at least a century and a half there was no theoretical codification of the visual arts as we might understand them today: painting and architecture were still the “manual ingenious arts,” as Vasari himself defines them in the Life of Giovanni Antonio Sogliani of “the arts of drawing,” under which the Aretine would bring together painting becomes the foundation of an aesthetic theory determined to recognize the visual arts as having the same prerogatives as letters the “liberal arts,” to use an anachronistic expression “Painting and poetry use the same terms as sisters,” he wrote in his own Reasonings And from this desire for recognition also derives Vasari’s versatility: “Rade volte un ingegnoso è eccellente in una cosa che non possa facilmente apprendersi alcun’altra e massimamente di quelle che sono alla prima sua professione somiglianti e quasi procedente da un medesimo fonte” (so instead in the Vita dell’Orcagna) The prerogative of Vasari’s aesthetic theory is albeit in reverse to how the ancients understood it who spoke of poetry by comparing it to painting Paul Oskar Kristeller observed as early as 1951 that this “ambition of painting to participate in the traditional prestige of literature also explains the popularity” of the concept of ut pictura poesis “which asserts itself forcefully for the first time in the treatises on painting of the 16th century and would retain its appeal until the 18th.” Vasari came to formalize his idea at a relatively late stage of his career but we must imagine it in nuce from the very beginnings if we are to read one of his earliest known works the celebrated Portrait of Duke Alessandro de’ Medici which opens the Arezzo exhibition together with Vasari’s own portrait by Stradano as a long celebratory poem written with the tools of painting brushes and colors: here then is the shining armor as a metaphor for the “mirror of the prince” since “the prince should be such that his people could be mirrored in him in the actions of life” (it is Vasari again who provides he sits on a round chair because the circle indicates his perpetual reign a dominion that has no beginning and no end and then the seat is swaddled with a red cloth that alludes to the blood shed by the Medici against his enemies the helmet is not worn by the duke but is laid on the ground as a sign of peace Vasari’s quality that immediately emerges from the Arezzo exhibition curated by Cristina Acidini with Alessandra Baroni beyond his uncommon communicative skills that were immediately put at the service of the Medici is his ability to elaborate novel iconographies a quality that must be read in the light of his theoretical ambitions: the exhibition gives immediate proof of this by devoting a good half of the room on Vasari’s training (the Temptations of St which together with the portrait of Alessandro de’ Medici constitute another excellent loan from the Uffizi on which one could go to great lengths to linger on the admirable juxtaposition of sacred and profane motifs that Vasari deploys on his panel) to theAllegory of Patience with the participation of Michelangelo and Annibal Caro himself to fulfill a request of the bishop of Arezzo who dedicated an essay to it in the exhibition catalog represents a unicum “among Vasari’s allegories especially because of its anomalous simplicity and the park-like use of symbols that distinguishes it.” the original now in a private collection (a smaller replica is seen at the exhibition displayed along with a variant also by Vasari’s hand and a large canvas that echoes it but only a decade ago attributed to the collaboration between Giorgio Vasari and Gaspar Becerra: Vasari’s invention was especially fortunate in Ferrara because the patron was in close contact with Ferrara personalities) departs from any traditional depiction of patience in order to propose an original reading of it that could satisfy a twofold need an eventuality of which Bishop Minerbetti had spoken at dinner with Cardinal Ippolito II d’Este and on the other hand to create an image that could also be representative of the vicissitudes of its patron Patience is thus rendered by Vasari as a naked woman arms folded (a quotation from Michelangelo’s Last Judgment probably suggested by the old artist himself) to emphasize her disposition caught watching a drop falling from a water clock and patiently waiting for it to consume the rock to which the woman is chained (although the chain does not always appear) “diuturna tolerantia.” The unprecedented iconography essential and provided with few attributes in deference to Michelangelo’s thought which preferred to emphasize attitudes rather than accessories thus arose from the collaboration between a young artist and would not be an isolated case in Vasari’s production: his art often benefited from joint work with literati especially in the context of court appointments the one on the “apotheosis of virtue,” which begins just after the chapter on the Chimera of Arezzo brought back to the city where it was found in Vasari’s own time is centered on the allegories that Vasari produced for Duke Cosimo de’ Medici (but not only: also exhibited here is the Forge of Vulcan executed for Prince Francesco) and on the artist’s commitment to enriching with new meanings those virtuous principles that moved his art and animated his very existence so much so that this “theater of virtues” of his sustains the scaffolding of the review from the very title: “that Vasari was a learned artist [...] was and is well known,” writes Acidini but “that in his painting he poured endless and very subtle quotations drawn from a vast universe of known lesser-known and even peregrine and rare symbols composing images laden with allegorical meanings More a disturbance to the beauty of painting than an added intellectual value.” The most recent research has therefore focused on the interpretation of his visual apparatuses and the complex of references and allegorical implications that permeate Vasari’s images and contribute to making the Aretine’s works complicated visual poems often challenging for contemporary critics given that over the centuries the understanding of the codes useful for deciphering the allegories has gradually faded by the fact that we are left with texts useful for understanding the meaning of his images: among them a highly cultured Benedictine monk who established a robust intellectual association with Vasari the subject of a dense essay by Eliana Carrara published in the exhibition catalog It is in Borghini’s Zibaldone that the description of the allegories now preserved in the collections of the Fondazione Cassa di Risparmio di Firenze all of which are on display in the exhibition are preserved.These allegories were once part of the artist’s Florentine home (although we do not know how they were arranged) and are related to the splendid allegories that Vasari painted for the ceiling of Palazzo Corner Spinelli And it is Borghini again who illuminates the meaning ofOblivion and Dream that we see depicted in the two wonderful drawings that have come on loan from the Metropolitan in New York: oblivion is thus a woman lying on the ground and leaning against a vase from which the water of the River Lete flows the river of forgetfulness in Greek mythology the one into which the souls of the Elysian Fields plunged in order to lose the memory of their past lives (the demons fluttering in the sky above the female figure hugging the vase allude to the cares and torments that oblivion allows one to forget) is a winged woman putting a young man to sleep while above him hover some cherubs holding mirrors an allusion to the illusory deformations that reality takes on while dreaming Vasari kept faithful to Borghini’s ideas albeit making a few modifications (for example Borghini suggested representing sleep as a damsel full of eyes: Vasari avoids any monstrosity instead) and thus preserving a certain autonomy of thought that inevitably went in the direction of the autonomy of the visual arts that he himself hoped for and that later in his career he would advocate with increasing conviction This new self-consciousness might be one of the elements to keep in mind when one is reminded of the unusual episode of Federico Zuccari’s Porta Virtutis displayed at the close of the section on a par with his Calumny by Apelles especially to remind the visitor how theVasarian allegorism fascinated younger artists as well as to highlight the relationship between Zuccari and Vasari (they were collaborators and Zuccari was also Vasari’s successor but there was no shortage of friction between the two): nevertheless it should be noted that perhaps an artist would hardly have gone so far as to orchestrate an operation of public discrediting of one of his patrons and opponents (the Porta Virtutis originated as a polemical painting against Pope Gregory XIII’s scalco who had rejected a work he had commissioned from Zuccari and assigning the commission to the Bolognese painter Cesare Aretusi) if he had not matured a new perception of his own status Not even sacred art escaped the continuous reinvention of symbols and allegories to which Vasari subjected traditional depictions To see the most admirable fruit of his creativity it is necessary to leave the Galleria Comunale and visit the section set up in the former church of Sant’Ignazio for which the archdiocese of Florence has obtained the loan of one of Vasari’s cornerstones the successful Allegory of theImmaculate Conception an extraordinary product of the imagination of a Vasari who as early as 1540 was fine-tuning the new iconography after lengthy consultations with friends and scholars including the learned Giovanni Lappoli canon of Arezzo Cathedral and tutor to the artist himself: Vasari had devised a new singular image that addressed the term of Mary’s sinless conception by merging two passages from the Bible the one from Genesis in which God curses the serpent for tempting Adam and Eve and the one from Revelation in which the “woman clothed with the sun with the moon under her feet and on her head a crown of twelve stars” is described For Vasari it was an extraordinary success since he was asked for several replicas and the invention was copied and the circumstance probably suggested that he continue to apply to sacred works and altarpieces that allegorical language that was so congenial to him also drawing from not so obvious sources: Interesting in the exhibition is the comparison between the Tetravangelo of Rabbula a very rare 6th-century Syrian codex that was donated to Clement VII before 1534 and then came to the Laurentian Library before 1573 in which Vasari takes up a topos of ’Byzantine origin that of the sun and moon included in the scenes of crucifixion and mourning over the dead Christ to signify the grief of all creation for the death of Jesus the same situation seen in the unique Pietà between the sun and the moon at Palazzo Chigi Saracini in Siena (where the mythological figures of Apollo and Diana also appear) The same figuration is found in the illuminated crucifixion scene on the Tetravangelo a circumstance that has led curator Acidini to speculate that Vasari had access to the codex "given the Medici affiliation [...] and his arrival in Florence in the span of the artist’s life and activity; and it is suggestive conjecture that he took a direct view of the sheet with the Crucifixion where the darkened and mournful heavenly bodies stand out." More traditional are other paintings that occupy the section on sacred art such as the recently discovered Christ Carrying the Cross and the unpublished Holy Family while formally unexceptionable and while painting works of the finest quality (just look at the intensity of the Christ) sticks to more conventional figurations Closing the itinerary of the visit is a rich room on drawings and a section devoted to the Accademia delle Arti del Disegno established in 1563 at the behest of Giorgio Vasari himself with the aim of training young people in the practice of art and soon also becoming a kind of workshop of ducal commissions: Vasari’s creation stands as the first formal academy for artists in history which was also established with the specific intention of equalizing the status of artists with that of men of letters and intellectuals the early years of the Accademia delle Arti del Disegno are retraced through the works of various artists who joined Vasari’s association with particular emphasis on paintings that as part of the project supporting the exhibition address the theme of the virtues that guide the artist in his work: it is especially worth lingering on the works that implicitly pay homage to Michelangelo’s symbol of the three crowns (i.e. “represents a clear reference to Medici Florence founder and generous benefactor of the important institution.” It is a sort of modern logo which we find in the unpublished Allegoryof Virtues and Occasion in Giovanni Stradano’sAllegory of Virtues and the Academy and then again in Stradano’sAllegory of Temperance illustrates: “three crowns or truly three circles intertwined together in such a way that the circumference of the one passed through the center of the other two reciprocally either because he intended that the three professions of sculpture painting and architecture were interwoven and bound together in such a way that the one gives and receives from the other comfort and ornament and that they cannot and should not stand out as a whole or also that as a man of high intellect he had a more subtle understanding of them considering him in all three of these professions to have been perfect and that the one helped and embellished the other changed his three circles into three crowns entwined together with the motto: ’Tergeminis tollit honoribus,’ wanting therefore to say that deservedly in said three professions he is due the crown of supreme perfection.” Emerging from the Theater of Virtues set up for this year’s anniversary is a Vasari perhaps all too underestimated by the general public which has all too often relegated him to his role as historiographer: from the halls of the exhibition rises did not hesitate to elaborate an aesthetic theory from which would originate a concept of “art” which is the one that has come down to the present day an artist firmly convinced that the arts were all sisters and that their differences were expressed only in the variety and diversity of their means of expression: the “theater of virtues” that accompanied his entire career can be seen as a kind of translation in images of a thought that Vasari would later organize with more theoretical systematicity in Lives the Arezzo exhibition is not the first to explore Vasari’s protean genius and his universe nor is it the first to highlight (albeit somewhat implicitly in this case) the importance of his figure in the history of Western art has such a vertical emphasis been placed on the process of image and model construction that produced most of the masterpieces for which the artist from Arezzo is known the exhibition to read Giorgio Vasari’s masterpieces beyond their surface And it will be worth pointing out that the purpose of this solid very valid exhibition also has a lot to do with our actuality with our reality as people living in an age of abundant visual overproduction products of artificial intelligence: the invitation is to examine Vasari’s complex apparatuses with the aim of sharpening the critical tools useful to orient us in that “populous universe of icons that today accompany us assault us through the most varied and pervasive,” declares curator Acidini “so as to reveal to ourselves and others the visual devices of political propaganda commercial persuasion and more.” Decoding images and above all tracing them back to their origins 27 April 2025 – Parma Women won again - this time in Arezzo – with our girls remaining hot on the heels of Ternana and keeping their title hopes very much alive with one matchday left before they meet the current league leaders The Gialloblu took the lead through Lonati who converted a Benedetti cross in the 15th minute Parma’s second goal was scored by Ferrario who finished off Pondini’s ball into the box with 51 minutes on the clock The hosts had a great chance to pull one back in the 67th minute following a foul by Rognoni in the box but Copetti went the right way to keep out Razzolini’s penalty as the Gialloblu went on to keep another clean sheet Questo sito Web utilizza i cookie per migliorare la tua esperienza durante la navigazione nel sito Web i cookie classificati come necessari vengono memorizzati nel browser in quanto sono essenziali per il funzionamento delle funzionalità di base del sito Web Utilizziamo anche cookie di terze parti che ci aiutano ad analizzare e capire come utilizzi questo sito web Questi cookie verranno memorizzati nel tuo browser solo con il tuo consenso Hai anche la possibilità di disattivare questi cookie Ma la disattivazione di alcuni di questi cookie potrebbe avere un effetto sulla tua esperienza di navigazione I cookie necessari sono assolutamente essenziali per il corretto funzionamento del sito web Questa categoria include solo i cookie che garantiscono funzionalità di base e caratteristiche di sicurezza del sito web Questi cookie non memorizzano alcuna informazione personale Tutti i cookie che potrebbero non essere particolarmente necessari per il funzionamento del sito Web e vengono utilizzati specificamente per raccogliere dati personali dell'utente tramite analisi altri contenuti incorporati sono definiti come cookie non necessari È obbligatorio ottenere il consenso dell'utente prima di eseguire questi cookie sul tuo sito web Utilizziamo i cookie sul nostro sito Web per offrirti l'esperienza più pertinente ricordando le tue preferenze Cliccando su 'Accetta' acconsenti all'uso di TUTTI i cookie the National Museum of Medieval and Modern Art in Arezzo is dedicating an exhibition to a masterpiece by Giorgio Vasari (Arezzo “Alcuna cosa fuor dell’uso comune.” Giorgio Vasari’s The Marriage Feast of Esther and Ahasuerus this is the title of the exhibition curated by Luisa Berretti revolves around the monumental oil-on-board painting The Marriage Feast of Esther and Ahasuerus (1548) considered one of Giorgio Vasari’s most important and completely autograph works was commissioned by Don Giovanni Benedetto da Mantova abbot of the Monastery of Saints Flora and Lucilla in Arezzo The event is part of the program “Arezzo The City of Vasari,” organized to celebrate the 450th anniversary of the Arezzo artist’s death.Vasari recounts that he painted the work in just forty-two days for his “most learned” friend the abbot asking in return the modest sum of 128 gold scudi not many for a painting of such dimensions The artist had just returned to his hometown after being in Rome in 1546 (he had frescoed the main hall of the Palazzo della Cancelleria) and Rimini in 1547 after having been in the monastery for a long time was moved to Palazzo Bruni Ciocchi in the 1950s to be part of the new state museum inaugurated in 1958 the arrangement of which was supervised by Luciano Berti The painting depicts one of the four banquets narrated in the Book of Esther where the biblical heroine intercedes with the Persian king Ahasuerus to save the Jewish people interpreted as a prefiguration of the Virgin Mary Vasari had also created a fresco above the painting depicting “a Christ handing that queen a crown of flowers,” which has been lost with its allusion to the sacrament of the Eucharist and Christ’s choice of the Ecclesia (the Church) is a work of high religious and symbolic significance which aims to document the genesis of the work documents and coeval art objects to explore Vasari’s stylistic and symbolic choices The exhibition section will also include reflectographs made on the painting in 1993 allowing visitors to discover the hidden details of its making Prominent among the materials on display are preparatory sketches illustrating Vasari’s creative process and some contemporary table artifacts to better contextualize the work The links between this panel and other similar compositions by the artist all part of Arezzo’s cultural heritage “I like to imagine this Vasarian Year as a staircase whose steps lead to the major international exhibition that will crown the timely and in-depth journey toward understanding Giorgio Vasari’s extraordinary and multifaceted artistic personality,” says Arezzo Mayor Alessandro Ghinelli a timeless masterpiece and precious jewel preserved in the Museum of Medieval and Modern Art is a privileged testimony to his virtuosity and is a unique opportunity to learn about its inspiration and genesis.” “A new and fascinating stage in Vasari’s journey through Arezzo’s state museums,” comments Stefano Casciu Regional Director National Museums Tuscany “in anticipation of the exhibition dedicated to the theme of Allegories in the Master’s work takes us into the heart of the elaboration of such a complex work as the Convito di Ester e Assuero through the drawings but also the reflectographs made for the 1993 restoration which revealed the preparatory stages for the direct execution of the panel an unmistakable sign of an autography that is not always guaranteed in Giorgio Vasari’s works.” “This is a unique opportunity to be able to admire in front of the largest panel painting made by Vasari some of the preparatory drawings and the documents that attest to its execution,” explains curator Luisa Berretti “in a new lighting that will make the work more visible and enjoyable in all its magnificent details Accompanying the drawings and documents will be table artifacts of the period from the collections on display and from the Museum’s storerooms.” The exhibition is part of the rich program of events exhibitions and celebrations of “Arezzo The City of Vasari,” which will run until February 2025 with a performance by the Tourdion Vocal Ensemble which will perform pieces from the 16th century For more information: www.vasari450.it 13 Apr 2025 13:00:00 GMT?.css-1txiau5-AnswerContainer{color:var(--GlobalColorScheme-Text-secondaryText2);}Virtus Entella won 2–1 over Arezzo on Sun The current head to head record for the teams are Virtus Entella 1 win(s) Have scored 4 goals in their last 5 matches Who won between Virtus Entella and Arezzo on Sun 13 Apr 2025 13:00:00 GMT?Virtus Entella won 2–1 over Arezzo on Sun 13 Apr 2025 13:00:00 GMT.InsightsHave scored 11 goals in their last 5 matches Virtus Entella is playing home against Arezzo on Sun It wasn't a brilliant performance from the team who created little but managed to contain the hosts Milan Futuro tried to rescue something at the end of the match and found the net through Sia Coach Oddo's Rossoneri have to lick their wounds and keep their heads up during a very delicate period. The team haven't won since the start of February and remain deep in the relegation mire. After matchday 33 in Group B, Milan Futuro sit level with Legnago Salus on 24 points in the table ahead of the full conclusion of the latest round of fixtures The team's next match will be against Campobasso at the Stadio Chinetti in Solbiate Arno at 15:00 CET on Saturday 29 March.  CHECK OUT THE PHOTO GALLERY FROM AREZZO v MILAN FUTURO and the battles in all areas of the pitch nullified the goalmouth action with a lack of service for the two teams' attacking players A flurry of substitutions initially didn't change the script but then the Tuscans took a 73rd-minute lead: Pattarello went on a solo run and let fly with an unstoppable left-footed strike Quirini (82') and Branca (in stoppage time) failing to hit the target Gigli (75' Lazzarini); Righetti (65' Coccia) The AC Milan PUMA Kits for 2024/25 are available: buy them now Ancora un boccone amaro, ancora gli episodi a girare male. E così Milan Futuro deve arrendersi all'Arezzo, perdendo 0-1 per opera di Pattarello, in rete nel cuore del secondo tempo. Il diciassettesimo ko in Serie C praticamente la metà delle giornate di campionato finora premia la zampata degli avversari in una gara bloccata già vista in passato e purtroppo con il solito epilogo negativo I rossoneri non hanno fornito una prestazione brillante creando poco ma comunque contenendo i toscani poi il guizzo decisivo e nel finale anche il gol vanificato a Sia a lasciare quantomeno perplessi La squadra di Mister Oddo deve leccarsi di nuovo le ferite, proseguendo il periodo molto delicato. La vittoria manca da inizio febbraio, di recente qualche spiraglio non è mancato ma è poco per aggrapparsi alla zona salvezza. I rossoneri dopo il 33esimo tornate del girone B rimangono in fondo alla classifica venendo appaiati dal Legnago Salus a quota 24 punti e in attesa che si completi il weekend Il prossimo appuntamento sarà in programma sabato 29 marzo alle 15.00 quando allo stadio Chinetti di Solbiate Arno arriverò il Campobasso LA CRONACA\nI rossoneri provano la partenza veloce prime scorribande al 6' con Coubis che svetta a lato sugli sviluppi della punizione di Alesi e al 7' col mancino  impreciso di Magrassi affondando senza però imbastire azioni pericolose Ianesi è ispirato e molto presente nel possesso Bartesaghi al 16' e al 22' prova delle conclusioni dalla distanza senza mirare la porta Al 31' break di Renzi il quale si libera e calcia velenoso dal limite: provvidenziale Nava a toccare quanto basta per toglierlo dall'angolino; poi tacco volante di Gilli dal corner seguente la battaglia in varie zone del campo toglie spazio alle emozioni i reparti offensivi non riescono a ricevere palloni giocabili Nemmeno la girandola di cambi sembra modificare il copione invece al 73' i toscani pescano il vantaggio: assolo di Pattarello che spara un sinistro radente potente e a fil di palo imprendibile per il portiere all'82' Quirini in girata e nel recupero anche Branca non inquadrano lo specchio Allo scadere un rimpallo favorisce Sia il quale insaccherebbe di piatto ma il gol viene annullato per fuorigioco dello stesso attaccante Gigli (30'st Lazzarini); Righetti (20'st Coccia) Arbitro: Gauzolino di Torino.\nGol: 28'st Pattarello (A).\nAmmoniti: 23' Malaspina (MF) 49'st Traorè (MF).\nEspulso: 44'st Mister Oddo (MF) dalla panchina Sono disponibili i Kit PUMA di AC Milan per il 2024/25: acquistali ora Coach Oddo's Rossoneri have to lick their wounds and keep their heads up during a very delicate period. The team haven't won since the start of February and remain deep in the relegation mire. After matchday 33 in Group B, Milan Futuro sit level with Legnago Salus on 24 points in the table ahead of the full conclusion of the latest round of fixtures MATCH REPORT\nThe Rossoneri tried to make a quick start with Coubis heading wide (6') and Magrassi firing off target with his left foot (7') Arezzo grew into the game without causing any real problems Bartesaghi (16' and 22') had two unsuccessful long-range attempts for the Rossoneri Nava produced a brilliant save to turn behind a powerful effort from Renzi from the edge of the box with Dezi firing over after 38 minutes.  Referee: Gauzolino from Torino.\nGoals: 73' Pattarello (A).\nBooked: 23' Malaspina (MF) 90'+4 Traorè (MF).\nSent off: 89' Coach Oddo (MF) from the bench The AC Milan PUMA Kits for 2024/25 are available: buy them now Do not duplicate or redistribute in any form.\nVAT number: 01073200154\nLicenza SIAE 5330/I/5051 This site uses technical cookies essential for the correct functioning of the website and to provide the service offered and requested by a user; First party and Third party analytical and profiling cookies are used to measure site usage, and to tailor advertising to your interests. To accept cookies, click on “Accept”, to disable cookies click on “Decline” or close the banner. For more information please visit our Cookie Policy Non duplicare o ridistribuire in nessuna forma.\nPartita IVA: 01073200154\nLicenza SIAE 5330/I/5051 ©2020 ACMilan.com版权所有，不得以任何形式对本网站的任何组成部分或任何内容进行拷贝、复制、重新发布。\n增值税号：01073200154\n意大利版权执照 5330/I/5051 本网站使用技术性Cookie，这对于网站的正常运行以及提供用户请求的服务必不可少；第一方、第三方分析和性能分析Cookie用于衡量网站使用情况，并根据您的兴趣量身定制广告。要接受Cookie，请单击“接受”，要禁用Cookie，请单击“拒绝”或关闭此横幅。有关更多信息，请访问我们的Cookie政策。 On Wednesday we return to the field, again at the Comunale, for the second round: our opponents are Vis Pesaro, who grabbed the equaliser in extremis against Pontedera which means qualification. AREZZO (4-3-3): Trombini; Renzi, Gilli, Chiosa, Righetti; Mawuli (67' Chierico), Guccione (83' Santoro), Dezi (83' Damiani), Pattarello (88' Capello),, Ravasio (88' Ogunseye), Tavernelli. GUBBIO (4-3-3): Venturi; D'Ursi, Tommasini, Spina (68' Tozzuolo). Referee: Di Francesco di Ostia Lido (Taverna–Peloso). Fourth official: Di Cicco. Var: Fourneau; Avar: Allegretta Goals: 10' Corsinelli, 28' and 62' Ravasio, 80' Pattarello (rig). Notes: spectators present 4.077; Signorini sent off; yellow cards: Mawuli, Rosaia, Guccione; Tentardini, Ogunseye; corners 4 to 4; added time: 1' + 4' This will be available to theArezzo, starting from group B (all on the pitch at 20pm), in the match against Gubbio, eleventh in the ranking but back in the playoff group thanks to Rimini's victory in the Italian Cup. The same advantage will be enjoyed by Vis Pesaro that will await Pontedera at Benelli. The ninety minutes that will be played in Abruzzo between Pineto and Pianese, the two revelations of group B. In Group A, the teams that will benefit from the home advantage will be Renate, Giana Erminio and Trento who will face Arzignano, Virtus Verona and Atalanta Under 23 respectively (the first two matches will be played at 17.30, the third at 20). In group C, playing at home will be Catania, Benevento e Potenza, to compete respectively with Giuliano, Juventus Next Gen and Picerno (kick-off at 20:XNUMX). From today's matches will emerge the nine teams ready to play the second round of the group stage, scheduled for Wednesday of next week, in which the fourth-placed teams will also enter the game, namely Albinoleffe, Pescara and Crotone. Twelve teams that at the end of the second day will become six (also in this case at the end of the ninety minutes the team with the best position in the standings at the end of the regular season will continue the adventure in the playoffs).