had a considerable influence on the young artist
with a significant presence of Jewish communities (Modigliani's family was also Jewish)
left an indelible imprint on the artist's artistic development
Although Modigliani left Livorno at a very young age to move to Paris
the warmth and energy of the Tuscan city retain many traces of the painter
The relationship between Amedeo Modigliani and Livorno is imbued with a deep and intimate affinity
and there are many places to see today to follow in the artist's footsteps in his daily life in the city
so much so that associations in the area often organize real tours to discover Modigliani's places in Livorno
But what are the places in Livorno most associated with Amedeo Modigliani's presence
Mark Kostabi and others) who have variously interpreted the art of "Modì." A short distance from the Birth House is also a huge mural
created in 2019 by Parisian artist Arnaud Liard and titled L'âme de Montparnasse
this is the school that was attended by Amedeo Modigliani: the artist is reported to have been enrolled in all classes between the years 1893 and 1898 (the very young Modigliani's report cards have also recently been unearthed)
He then left school and devoted himself to his artistic career
entering the workshop of Guglielmo Micheli
at the time one of Livorno's most highly regarded masters and a leading name in late 19th-century Tuscan art
The Liceo Guerrazzi was founded in 1861 and has always been Livorno's classical high school: in 2017 it was merged with the "Angelica Palli" Magistral Institute and became one of the addresses of the new "Niccolini-Palli" State Institute of Higher Education
People such as Giovanni Pascoli and Carlo Azeglio Ciampi also passed through the desks of this school
It was here that Modigliani's culture began to form
that the old 17th-century Synagogue was located
unfortunately destroyed during the bombings of World War II and rebuilt in its present form in 1962
designed by architect Angelo Di Castro: the new temple of the city's Jewish community stands on the site where the Synagogue attended by Modigliani once stood and in which the artist
which marks the transition to maturity according to the Jewish religion (during the ritual
the boys read a passage from the Torah or Haftarah
and at the end the family offers refreshments to family and friends)
It is an important celebration since after the Bar Mitzwah a Jew is held as a responsible member of his community
Livorno's Jewish Monumental Cemetery is located on Via Ippolito Nievo and was used between 1840 and 1900: it was one of several sites throughout history that Livorno's Jews used for their burials
Members of the Modigliani family also rest here: among them
their grandfather and grandmother (Emauele Modigliani and Olimpia Della Rocca)
It is one of the most important places to understand how dense and active Livorno's Jewish community was between the 19th and 20th centuries
At the intersection of Via Gamerra and Via Baciocchi
thus within walking distance of Modigliani's birthplace
the painter Guglielmo Micheli had his workshop
a 14-year-old Modigliani began to frequent the atelier of the prominent post-macchiaiolo painter
with frequent outings to the nearby Ardenza waterfront
Modigliani's first approach to art was in fact with the landscape genre
the artist disliked (so much so that he abandoned it as soon as he became an independent artist)
The villa later became an orphanage but was completely destroyed in 1943 during the bombings of World War II
A historic café in Livorno that was very short-lived
but it played a fundamental role for Livorno's artistic community since it was a habitual meeting place for artists who developed their poetics here (it was an indispensable reference point for the entire post-Macchiaiola community: artists such as Gino Romiti
Benvenuto Benvenuti and others were regulars here
the historic association of Leghorn artists that still exists today
was for some time among the artists who gravitated around the Caffè Bardi
an artist born in 1881 who was among the other regulars at the Caffè Bardi: the drawing
executed on a sheet of the Caffè Bardi (also present is the logo and all the addresses) is currently kept at the Fattori Museum in Livorno
there is a gift store of a well-known international chain in the building where Caffè Bardi was located
but a plaque on the facade recalls the building's artistic past and the presence of the café
at the urging of friends who feared for his precarious health
to which the climate of the French capital was not good for
he was able to procure a studio for himself on Via Gherardi del Testa
in a room inside the Mercato delle Vettovaglie whose construction had been completed a few years before
In the large room that Modigliani rented inside the Mercato delle Vettovaglie were born
according to the accounts of the painter Cafiero Filippelli
would later throw into Livorno's Fosso Reale
According to the testimony of the photographer Bruno Miniati
this is where the two were with Modigliani in the summer of 1909
during "Dedo's" brief stay before leaving for Paris
when the artist allegedly showed the two colleagues a head carved in stone and then threw it into the water of the Fosso Reale
in the stretch that is in front of the Church of the Dutchmen
the place of worship of the Dutch community in the city
due to the fact that he was not satisfied with the result
we do not know: what is certain is that Modigliani's sculptures have never been found
The canal that once surrounded the fortified city of Livorno
and which had basically defensive functions
became famous not only because Modigliani allegedly threw into the Fosso Reale
the sculpted heads that did not satisfy him: the Fosso Reale
was at the center of the sensational hoax that was hatched in the summer of 1984 (the year of the centenary of his birth)
at the urging of the then director of what was then called the Progressive Museum of Modern Art in Livorno
had the ditch dredged in the hope of finding the statues
judged by many critics (and among them some of the great names of the time such as Dario Durbè
Giulio Carlo Argan and Carlo Ludovico Ragghianti) to be authentic: it was later discovered that the three sculptures were the work of three students from Livorno
Pierfrancesco Ferrucci and Michele Ghelarducci
who claimed to be the authors of the works
and then thrown into the Fosso Reale as a prank (in confirmation
the young men sent the newspapers a photo showing them before the hoax
along with the sculptures later found in the canal)
declared that his intent was to demonstrate how easily the public's beliefs could be influenced
This is the city's most important art museum
and it also houses two works by Modigliani
the Giovanni Fattori Civic Museum preserves the Portrait of Aristide Sommati (not always visible for conservation reasons)
a "Tuscan Street" from around 1898 that would represent one of Modigliani's early experiments
traditionally attributed to "Modì," is painted
"with rapid brush strokes and punctuations of color seeking the effects of varying light," and is probably a glimpse of the countryside near Salviano
where Guglielmo Micheli's pupils frequently went
so much so that it is lost in the central vanishing point
is flanked on the left by a house with barely hinted volumes
on the right by a tree rendered with a 'stain' of dark green
the only vertical element in the scene; beyond the countryside and the hills behind is a cloudy sky lightened by pink touches of sunset."
we are discussing the madness that occurred at the Ft Lauderdale Pro Swim
Ledecky’s world record in the 800 free proves that age is seemingly just a number for her
but it also makes the Rio 2016 swim she beat out more memorable
Marchand has a few areas of improvement to work on if he hopes to return to his Paris form at the World Championships this summer in Singapore
SwimSwam Italia Coverage
The inaugural City of Livorno Swimming Meet kicks off Friday
March 21st and gives Italian swimmers a tune-up opportunity ahead of next month’s Absolute Italian Championships
That later competition serves as the primary qualification meet to make the grade for this summer’s World Championships
Over 450 athletes representing 71 clubs are expected to descend upon Livorno
with the host nation swimmers hosting competitors from Austria
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Former Masters swimmer and coach Loretta (Retta) thrives on a non-stop but productive schedule
that includes having earned her MBA while working full-time in IT while owning French 75 Boutique while also providing swimming insight for BBC
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Regala o regalati un abbonamento al Giornale della Vela cartaceo + digitale e a soli 69 euro l’anno hai la rivista a casa e in più la leggi su PC
Il pronostico della vigilia è stato rispettato
la linea d’onore della Ran 630 dello Yacht Club Livorno
una delle più lunghe e impegnative regate che si corrano in Mediterraneo
è andato al catamarano foil F4 Falcon di Matteo Uliassi
con un equipaggio di faceva parte anche Shannon Falcone
Il Falcon ha coperto una distanza effettiva di 770 miglia
17 ore e 26 minuti (cronometrati alla perfezione da Locman
official timekeeper della RAN 630) a completare il percorso che
prevedeva i passaggi di Porto Cervo e Capri
La prossima barca attesa sul traguardo è l’X-41 Adrigole II di Francesco Giordano
che viene accreditato anche come uno dei possibili vincitori in ORC A
A 60 miglia dal traguardo anche il Sunfat 3600 Lunatika di Guido Baroni
attualmente prima barca tra gli equipaggi in doppio
costruito dal cantiere olandese DNA Performance Sailing
nel quale James Spithill naviga con l’F4 da New York alle Bermuda
L’imbarcazione è il risultato della collaborazione tra Shannon Falcone (due volte vincitore dell’America’s Cup)
Tommy Loughborough (velista professionista) e gli ingegneri/team di progettazione di DNA
L’F4 è stato progettato appositamente per il documentario di Redbull “Flying on water”
super star della Coppa America in quel periodo con Oracle Team USA
ha volato con il primo F4 da New York alle Bermuda
TRACKING RAN 630
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la grande festa della vela caraibica dove la nostra Ida Castiglioni è a caccia di storie (qui la prima puntata e la seconda puntata)
scampata alla guerra in Ucraina “grazie” alla vela
Va in archivio a Livorno una bellissima e tecnica edizione della Ran 630
una delle regate più lunghe che si corrano in Mediterraneo (la più lunga per le barche a rating)
Dopo l’arrivo della prima imbarcazione
la grande festa della vela caraibica dove la nostra Ida Castiglioni è a caccia di storie (qui la prima puntata e la seconda puntata)
scampata alla guerra in Ucraina “grazie” alla vela
Oggi Ida ha incontrato in banchina Irina Shakarovska
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Eni SPA is ready to begin construction pending remaining government approvals on the operator’s previously proposed project to convert its idled 84,000-b/d conventional crude oil refinery in Livorno, Tuscany, on Italy’s northwestern coast, into what will become the country’s third biorefinery (OGJ Online, Oct. 18, 2022)
Following start of on-site preparatory works that began earlier this year
formal construction activities for the Livorno industrial-site conversion and biorefining project will begin as soon as Italy’s Ministry of the Environment and Energy Security (MOEES)—in consultation with local authorities—issues the final single-authorization and related building permit
Without specifying a timeframe for when it expects to receive the permit
the operator said this last regulatory hurdle follows previous project approvals granted by the MOEES
and Tuscany’s regional government based on an environmental impact assessment for the development Eni submitted in November 2022
Forming part of Eni's broader decarbonization strategy to achieve carbon neutrality by 2050 in line with the global energy transition and increase subsidiary Enilive SPA’s current 1.65-million tonne/year (tpy) systemwide biorefining capacity to more than 5 million tpy by 2030
Most recently scheduled to begin formal construction in fourth-quarter 2024 for completion by 2026
the Livorno transformation and biorefining project joins a series of other proposed biorefining projects Eni is developing
Eni—the first global operator to convert two of its conventional refineries into biorefineries—first began producing biofuels in 2014 by processing vegetable oils and biomass waste into renewable diesel following conversion of its former 80,000-b/d Venice refinery
followed by transformation of the 105,000-b/d Gela refinery on the southern coast of Sicily in 2019
Robert Brelsford joined Oil & Gas Journal in October 2013 as downstream technology editor after 8 years as a crude oil price and news reporter on spot crude transactions at the US Gulf Coast
He holds a BA (2000) in English from Rice University and an MS (2003) in education and social policy from Northwestern University
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We produce an innovative portfolio of approximately 2,000 proprietary crop nutrient, crop protection and seed products.
we supplied 27 million tonnes of essential fertilizer products to customers in more than 50 countries
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we celebrated 65 years of potash mining in Saskatchewan
Nutrien invested $28M USD in communities around the world
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"Safety is a value whose protection depends on everyone's commitment," he says. "We are all safety leaders."
In February 2020, Italy recorded its first cases of the coronavirus and soon became the epicenter for COVID-19 across Europe. As the country was pushed to the global stage, essential services like Nutrien's storage and blending facility in Livorno were faced with a seemingly impossible task: being among the first to battle a global crisis with no playbook to turn to.
"In just a few days, we realized that what we saw on television was also happening in our cities," recalls Giampiero, Safety and Agronomy Coordinator at Nutrien's Livorno site. "We didn't know how long it would last and what impact it would have, but we understood that we would immediately face a sea of change in our working lives."
Giampiero didn't waste time. He rapidly instituted rules to protect the office and plant teams – including the installation of plexiglass separations, new rules for truck drivers, daily sanitization routines for machinery and regulated access to the locker rooms. Office staff were immediately set up to work from home and physical distancing was implemented onsite.
"In Italy, we are a very close-knit group of people, accustomed to working closely and collaboratively," says Giampiero. "We had to find new ways to avoid contact while maintaining quality of work and interpersonal communication. Microsoft Teams was a huge support in keeping us connected and united."
Giampiero also took the initiative to ensure availability of masks, gloves and hand sanitizer for every employee in the office and at the plant – before it was a company requirement to do so.
"Giampiero showed this year his capacity to adapt and react very quickly to a situation for which there was no playbook and which could have quickly got out of control at any time," says Gregory Fontaine, Managing Director, Nutrien Europe. "He has shown great leadership values of humanity and caring for his colleagues – putting their safety first and then focusing on what was needed to keep the operation running and viable."
Despite the fact its peak season occurred just a month into the pandemic, the Livorno site managed to deliver on its commitments that year without a single COVID case. Giampiero credits this success to the efforts of the entire Livorno site – including its considerate and cooperative customers.
Even in the midst of a crisis, the Livorno team remained firm that its members were stronger together. Their knowledge and experience served as a source of learning for our other Nutrien Europe locations as the pandemic moved further west.
"The sense of responsibility and respect for our colleagues has always been very high in Livorno," says Giampiero. "At the first sign of a fever, every employee preferred to stay at home rather than risk compromising the health of their colleagues. The safety of the community always came first."
In my role I track the global agricultural fundamentals that help in predicting short to long-term trends driving the future direction of the global agriculture industry. I also develop and update various economic models. These models are used to estimate and predict crop input expenditure in our [...]
Nutrien’s Community Relations & Investment (CRI) supports our business purpose by nurturing communities through collaborations with community partners who share our values and help us to make a positive and lasting impact in the communities where we operate. “While we share CRI data and stories [...]
Did you know that Nutrien has a Genotyping lab? It’s located in our Canola breeding facility in Saskatoon, Saskatchewan. Employees like Li Tan, Lead, Molecular Biology, work in the lab to analyze DNA for specific genes within plants.
As part of the Biennale del mare-Blu Livorno On May 14th
the conference "Marine biodiversity: 20 years of scientific and educational collaboration between Italy and China" will take place in the panoramic hall of the Livorno Aquarium
The conference is organized by ISPRA together with the Italian Embassy in Beijing and the University of Pisa
as part of the 3rd bilateral workshop on scientific research and advanced training applied to marine sciences
which will see the participation of professors from the Zhejiang Ocean University and a large delegation of students
the professors of the Zhejiang Ocean University will deliver to ISPRA the plaque of the joint Sino-Italian laboratory "FUNBIOMAR-Functional Biology of Marine Biota" and the activities and scientific research underway between ISPRA_Livorno
the Universities of Pisa and the Zhejiang Ocean University will be presented to the public
David Pellegrini and Isabella Buttino will give a speech
Program
Web site
The first act of the playoff semi-finals of the C series of volleyball, for the Colle VolleyIn the first leg, played in Livorno, despite the good performance, the Valdelsa team coached by Alessandro Calosi was defeat for 3-1. The clear victory in the opening set was not enough for the Collegiano team to win. Unfortunately, the second set, between lapses and errors, saw the easy success of the local sextet.
In the third set Colle Volley found themselves at 24-20, but the possibility of a new advantage in the set count was wrecked by the effect of the comeback labronica on 30-28. A practically carbon copy scenario in the fourth set: the reassuring 22-17 was not enough to bring the tie to 2-2 at Colle Volley, which once again saw the return of the Tyrrhenian team able to impose itself on 25-23.
The good performance, even with some regret for the favorable circumstances not exploited to the fullest, still offers Colle Volley the opportunity for redemption. The return match is scheduled for Saturday in Colle. A match in which the group will want to demonstrate that they still have chances to move forward on the path to promotion. A path that remains challenging, but which still sees Colle Volley determined to make the most of its chances to try to reach a prestigious goal.
Over the course of the season, Colle Volley in all its components has demonstrated maturity and willpower in the work to be done, both on the court - the performance of the athletes has been truly remarkable, since the initial stages of the regular season - and in the technical and managerial sectors.
Review for a Europe - Western Mediterranean Cruise on MSC Grandiosa
Review for a Mediterranean Cruise on MSC Opera
having tight battles in both the 200 and 400 IM but ultimately touching 2nd in both
Cal Bear and Mexican swimmer Humberto Najera took down a pair of national records in the men’s backstroke events
March 21st, 2025 Africa, Europe, International, News, Previews & Recaps
The 2025 City of Livorno Meet in Italy brings swimmers a chance to tune up ahead of next month’s Absolute Italian Championships
But host nation athletes weren’t the only ones in the water today for timed finals, as 23-year-old Noe Ponti of Switzerland also dove in for an event
Olympic medalist Ponti fired off a swift effort of 50.67 to handily take the gold
Ponti got to the wall nearly 2 seconds ahead of the pack
Daniele Momoni scored silver in 52.52 and Edoardo Valsecchi rounded out the podium in 53.21
today’s outing represents the short course world record holder’s 6th-best performance of all time
His lifetime best remains at the 50.16 registered in April of last year
His time here now rendres Ponti the #1 swimmer in the world this season
Another Olympic medalist put her prowess on display, as freestyle ace Simona Quadarella tried the women’s 200m free on for size
26-year-old Quadarella clocked a time of 1:59.32 to represent one of three swimmers to delve under the 2:00 barrier
Joining her was Giulia D’Innocenzo who notched 1:59.66 followed by Matilde Biagiotti who touched in 1:59.95
He’s probably not rested and drops a 50.6
March 22nd, 2025 Europe, International, News, Previews & Recaps
The 2025 City of Livorno meeting wrapped up today with multiple swimmers earning additional hardware in the series of timed finals ahead of next month’s World Championships Trials
Visiting swimmer Noe Ponti of Switzerland already blew away the men’s 100m fly field last night with a world-leading 50.67 but he clocked winning efforts in the 50m fly and 200m IM today
the 23-year-old stopped the clock at 22.91 to beat the field by over a second
Italians Daniele Momoni and Giulio Meniconi wrangled up the minor medals with the former touching in 23.96 to the latter’s 24.31
Ponti’s rapid result was just off the season-best 22.83 he registered last month in Dubai to become the #1 performer in the world
Ponti logged a result of 2:00.18 to keep Christian Mantegazza at bay
The Italian settled for silver in 2:00.92 well ahead of countrymate Jacopo Barbotti who bagged the bronze in 2:02.68
Ponti owns a lifetime best of 1:59.70 in this event
an outing he put on the books during the 2023 World Aquatics Swimming World Cup
18-year-old Sara Curtis wrapped up a trio of wins to close out day two of this competition
The 50m free saw the teen stop the clock at 25.25, getting to the wall a hair ahead of Costanza Cocconcelli who secured silver in 25.36 followed by Silvia Di Pietro who notched 25.42 for bronze
The 100m back saw Curtis turn in a time of 1:01.93 while the 100m free saw Curtis hit 55.07 to reap her trio of medals on the day
Breaststroke maestro Benedetta Pilato demonstrated her prowess in the 50m sprint
She represented the sole competitor of the field to delve under the 31-second barrier en route to establishing her season-best
She now ranks 2nd in the world this season
Finally, Filippo Megli topped the men’s 200m free podium in a solid in-season swim of 1:47.95
Megli has been as quick as 1:45.67 in his career
although that was nearly 6 years ago at the 2019 World Championships
Now let's focus on the championship group stage that will start next Sunday. To face it in the best way it will be necessary not only to regain physical form but above all the mental strength that has allowed the Amaranto to dominate this championship.
Figline (4-3-3): Pagnini; Ciraudo, Simonti, Milli, Nobile; Aprili (61' Cavaciocchi; 65' Rosini), Mugelli, Rufini (69' Gozzerini). Subs: Daddi, Allushaj, Gozzini, Dama, Ciravegna. Coach Beoni
US Livorno (3-4-2-1): Cardelli; Botrini, Fancelli, D'Ancona (46' Risulti); Frati (46' Malva), Dionisi; Rossetti (73' Regoli). Subs: Tirelli, Calvosa, Arcuri, Marinari. Coach Pascali
Goals: 5' Rufini, 19' Dionisi, 23' Rufini, 32' Mugelli, 80' Rosini
European Investment Bank (EIB) and L’Autorità di Sistema Portuale del Mar Tirreno Settentrionale have signed a €90 million financing agreement for sustainable expansion of the Port of Livorno
The goal is to support the modernization and expansion of the Port of Livorno
The funds made available by the EIB to expand the Port of Livorno
which forms part of the Scandinavian-Mediterranean corridor of the TEN-T network
will go towards the construction of the Darsena Europa container terminal
The Darsena terminal is strategic project to accommodate ships already operating in international traffic
to ensure the competitiveness of the Port of Livorno and safety of navigation there
the main operations involve the construction of new breakwaters and related dredging activities
the definition of a containment area for sediment from dredging
and the construction of a new access channel to the port’s terminals
These infrastructure operations will not only help improve the efficiency and safety of the port
but will also increase its resilience to potential future climate events
They will also help improve the stability of the coastline thanks to the construction of a sand pipeline
which will be used for future nourishment of the sandy coast located immediately north of the mouth of the Arno river’s floodway
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Cardelli: 4.5 Victim of this new defensive formation, he struggles on the opponents' first goal, but cannot do much more on the second. However, the serious error in disengagement leads to the third goal of the home team.
Fancelli: 5 In difficulty like his entire department, in the second half, thanks to the entry of Risaliti, he straightens out his performance.
Botrini: 5 He struggles like the entire Amaranth defense, author of a good recovery on Mugelli in the 7th minute of the second half.
D'Ancona: 4.5 Very struggling with the opponents' vertical passes, his foul on the edge of the area in the 22nd minute gives the home team the chance to regain the lead. (From the 46th minute Risaliti: 5.5 His entry gives the Amaranto defence a bit of experience, which is necessary to stem the incursions of the opposing centre-forward).
Bonassi: 5.5 He puts in some good ideas but is unable to make the difference either in attack or in defense.
Lights: 6 With his plays the Captain tries to give balance to the performance of a Livorno that is a little too soft. (From the 46th Bacciardi: 5 little involved in the actions of the Amaranto, struggles to find space).
Bellini: 5.5 Ready to attack his opponents and fight for every ball despite the adverse result, author of countless recoveries in every area of the pitch.
Parente: 5 Few flashes on the left flank, struggles to skip past opposing players. (From the 73rd Ndoye: SV).
Rossetti: 5 He struggles to touch the ball, is not very precise in front of goal, fights in the opponent's area but fails to make an impact. (From the 73rd Regoli: SV).
Frati: 6 One of the best on the pitch, he covers the entire surface and tries to create something. (From the 60th Malva: 5 The number 11 has few opportunities to demonstrate his qualities entering a match whose direction was already marked).
Dionisi: 6.5 The best on the pitch not only for the goal, he stood out among his teammates for his commitment, making himself dangerous in the opponent's half on more than one occasion.
Being one’s self in Livorno consists of a particular way of life that is quite unusual compared with other Italian cities
If you are in Tuscany you might want to go to Livorno to see the sun
The suggestion might sound absurd or ridiculous until you get to the port city on the western coast and realize that what we’ve always taken for granted is there alive
eloquent; suddenly you become aware of a certain desire
As you ride the bus from the train station through Viale Carducci you begin to ponder about this desire in the faces of the Livornesi—the daily commuters who take the same bus ride every day. You notice it in their eyes: a kind of rebelliousness: the desire to be one’s self. (I am sitting across a beautiful green-eyed girl and I am reminded of the paintings of the legendary Livornese artist Amedeo Modigliani)
Go to Terrazza Mascagni and observe that there are more locals than tourists strolling on a normal work day
The locals don’t wait for a Saturday or a Sunday to enjoy the bounties of dolce far niente
They live according to the energy and conviction of the sea people that life must be lived outside
who would not want to saunter along the elegant waterfront terrace whose pavement recalls an immense chess board and contemplate the beauty of the open sea
only to learn that life is not a game of chess—a strategic process of patterns for conquering your enemies until the grand victory
that its familiar pleasures are themselves a kind of triumph
Maybe what we need is not victory but a little romance: watching the sunset on one of the semicircle benches while your body starts to loosen
the mind lets go and you are in this world only once
A kind of rebelliousness. Livorno the so-called the divorce capital of the country for its remarkable high rate of divorce cases
falling in and out of love are colliding obsessions for the locals
It is the strenuous force of desire that there is always the third party to love; even to the point of betrayal
Long before divorce became institutionalized the great Livornese composer Pietro Mascagni had put into music—the one-act opera Cavalleria Rusticana—this salacious thrust of desire
The truth of art knows its people better than psychologists and historians
I am standing on a bridge in front of the historic Porto Mediceo
On the left side is the view of the newly constructed commercial center Porto a Mare where no one seems to be enthusiastic about
the panoramic red-bricked Fortezza Vecchia (Old Fortress)
Below me are the stagnant tiny white boats; more than a century ago on this very site one could glimpse the raucous steamships
navicelli and becolini immortalized in the painting of Guglielmo Micheli which is on display at the Museo Civico Giovanni Fattori
The liveliness of the port city has never left. One can smell it in the air—the perfume of frittura (deep fried fish) coming from the food stalls along the port. If hunger assails you go to the historic sandwich shop in Via del Cardinale and try their exquisite local specialty: focaccia stuffed with chickpea pancake with a fresh glass of spuma (local soda) and find a corner outside to eat
From the Porto walk all the way to Quartiere La Venezia (Venice Quarter) and a feeling of being transported to Venice gets into you with its charming canals and bridges snaking through housing buildings and churches and squares. But unlike the stress, freneticism, and costliness of Venice caused by the vulgar menace of excessive tourism
the Venice Quarter in Livorno has maintained its authenticity; a quarter for working class people where local restaurants remain delicious and affordable; where boats are used not for tourism but for the slow paced everyday life; and where every August a folkloric event called Effetto Venezia matches the surreal festivity of Venice with its concerts
Soon after you find yourself in Via delle Madonna
where old and young offer an essential clue to what this desire is all about
The old sit either at the tables outside the bars or on the benches arguing how fucked up the country has become
while the children of mixed origins (Moroccan
African…) play ball in such harmonious playfulness as though unity is still possible
As you walk beneath the arcades of Via Grande surrounded by bars and restaurants
you begin to access the inner consciousness of this city
adheres to that burning graffiti on the wall: Vita lunga ai ribelli
The sea and the sun have done something to you as if your heart has been gently prised open and you discover you have no need to be superior or to exercise power or to take pleasure in hierarchic ritual
in formalized emblems of order and control
to revealing selflessness embodied in the felt presence of the sun
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In Livorno, in the same plant where in September Fortitudo lifted the Super Cup, the team will be followed by no less than 250 fans present: yet another demonstration of attachment to their colors by the white and blue public. On the Libertas Livorno side, the challenge with Fortitudo is not only a historic event, so much so that the challenge has been moved from the PalaMacchia to the more capacious Modigliani Forum.
LA VALLETTA (MALTA) (MNA/ITALPRESS) – A total of 109 migrants rescued from the central Mediterranean are currently en route to the port of Livorno
after being saved by the German non-governmental organization Sea Watch
The Sea Watch 5 vessel first rescued 104 people from a wooden boat in distress
“The people are now being cared for on board while we sail to Livorno
which has been assigned to us as port of safety,” the NGO said in a statement
the crew received a new alert regarding another boat in distress
they spotted a Libyan coastguard vessel approximately 3.5 kilometers away
Sea Watch’s rescue boats were able to intervene and save five more people
uncertainty remains surrounding the fate of the original boat that triggered the second alert
the European border agency Frontex later informed them that the individuals aboard had been rescued
“We don’t know whether that means they were rescued by the Italian coastguard or intercepted by the so-called Libyan coastguard and illegally dragged to Libya,” the NGO said
raising concerns about potential breaches of international law
Sea Watch continues to advocate for safe and legal pathways for migrants and calls for European nations to uphold humanitarian obligations in the Mediterranean
The artistic and human universe of Renato Natali (Livorno
one of the leading post-Macchiaioli artists
is revealed in an exhibition titled Renato Natali
Rome and Beyond: Dialogue Between Art and Affections
takes the form of an intimate and unprecedented journey through the work and life of the Leghorn artist
highlighting his deep connection with Rome and the Imparato family
to whom he was bound by an affectionate friendship that lasted decades.The exhibition offers visitors an opportunity to learn about a lesser-known side of Renato Natali
a painter celebrated for his ability to capture atmospheres and details of everyday life
a fundamental piece of the master’s biography is told: his intense and affectionate relationship with the Imparato family and the city of Rome
At the center of the display is a collection of works that for nearly a century has been jealously guarded by the heirs of the Imparato family
This corpus includes paintings and works on paper related to the painter’s innermost feelings
particularly the figures of Margherita Imparato and her daughters
The relationship with the latter has been an ongoing inspiration for Natali
who has poured an emotional charge and uncommon sensitivity into his works
but also deep affections: the exhibition path winds through images and personal memories
in a sort of visual diary that recounts episodes and feelings otherwise difficult to convey
Completing the narrative is a second selection of works from other private collections that document Natali’s artistic evolution from his early youthful beginnings to his mature postwar phase
show an author capable of renewal without ever losing touch with his cultural and emotional roots
From urban landscapes to more intimate scenes
each canvas and drawing represents a testimony to his extraordinary sensitivity to the world around him
The exhibition experience is enriched by a catalog edited by Vincenzo Farinella and Nadia Marchioni
which provides critical insights into the works on display and the historical and personal context in which they were created
the volume is a useful tool for those who wish to further immerse themselves in Renato Natali’s universe
The exhibition can be visited according to the following hours: Monday through Saturday from 10 a.m
On Sundays and holidays it is possible to book a visit by appointment by calling +39 0586815200 or +39 3357051360
The event represents not only a tribute to one of the protagonists of the Livorno art scene
memory and feelings that promises to excite all visitors
Thanks to careful curating and the quality of the selected works
the exhibition promises to be a must-see event for art and culture lovers
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Capacity on Italian regasification unit is fully booked through into 2026
Italy’s floating storage and regasification unit off Livorno has resumed commercial operations with a first import cargo after off-site maintenance.
Vessel owner and manager OLT Offshore Toscana said the FSRU Toscana terminal received a first LNG cargo on 25 November.
The company supplied a shot of BP’s 173,644-cbm British Contributor (built 2018), which was carrying a cargo of US LNG, at the terminal.
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The regional health emergency system is currently working on site
Armed assault on a cash van on the SS1 in San Vincenzo
This was announced by the president of the Tuscany region
From the photo published by the president to accompany the news
Both lanes involved – says Giani – have been closed and the regional health emergency system is currently responding
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Along with Livorno, Pulzetti also spent five years with Bologna and also had time with the likes of Verona and Padova
Now in charge of Serie D Calvi Noale
Pulzetti spoke with Tribalfootball.com about his career
his coaching journey and those days with Livorno
but we were relegated to Serie B the following year
we were strong enough to return to Serie A quickly
“Livorno is the club I played for the most
and my memories are a mix of beautiful and challenging moments
“But the most prestigious club I played for was Bologna
The fans there were wonderful and supported us through every moment
Working with Gian Piero Ventura at Verona and Bari
“Ventura came to Hellas after the club fired (Massimo) Ficcadenti during my last year there
You could immediately see he was a great coach
“I later joined him at Bari for six months
implementing strategies 10-15 years ago that many coaches are trying to adopt now
Playing with Vincenzo Italiano
“I played with Vincenzo for a year and a half at Verona
and we even shared a room during training camps
Italiano has achieved great results wherever he’s gone
He’s adapted his tactics to suit his players
he’s demonstrated his ability to evolve by changing formations to get the best out of his squad.”
I joined when I was very young and became a regular in my first year
It was a special time for Livorno and its fans.”
Working with Stefano Pioli at Chievo and Bologna
“I was initially worried when Pioli came to Bologna
as my experience with him at Chievo wasn’t great
and I played regularly until I got injured during a crucial part of the season
They’re in contention for European competitions next season
I think the old format might have suited them better
Leonardo Spinazzola at Siena and young talent
I didn’t expect him to have such an incredible career because he wasn’t physically strong at the time
and I wish him all the best in regaining his form.”
Verona’s defensive issues are a big problem
I hope they can strengthen in the January transfer window and avoid relegation
“My first coaching experience was at Montebelluna, where I retired as a player to take over as coach. Later, I joined Calvi Noale, where we achieved significant progress, finishing second in my second year. I then moved to Riccione
but challenges off the field made the job difficult
I returned to Calvi Noale and led the team to a Serie D promotion
I’m ambitious and aim to coach at the highest levels
“I’d love to see Atalanta win the league. They’ve been playing fantastic football for years, and this could be their moment. It would be a great story for Italian football to see a team outside the traditional powerhouses win the title. Fiorentina
Both teams are shining examples of what good football looks like.”
Pastora con bambino e paesaggio (San Casciano dei Bagni)
Ragazze con fasci d'erba (Pontedera)
Sulla nave ospedale "Menfi"o “Memfi” (Libia 1911)
Lungo l'Arno fuori Porta San Niccolò (Firenze, Bellariva)
Signor Luigi Bologna e signora Francesca (Chiusi, Dolciano)
Falciatura del grano (Madonnino dei Monti)
DescriptionDateLate 19th - early 20th century MuseumThe UffiziCollectionPhotographic DepartementTechniqueGlass plate and film photography InventoryPhotographic no
33001 to 40746 (currently being digitised)In 1943
the Florentine Superintendency received a donation of more than 7,000 negatives of various sizes from Lodovico Edoardo Pachò (Livorno 1870 - Florence 1975)
a landowner who had previously worked as a ship's doctor
the Livorno-born artist participated in important photographic congresses of the time
was a friend and collaborator of Vittorio Alinari
exhibited in various competitions and exhibitions (often winning awards)
and published in prestigious photography magazines
The study and digitisation of the collection
kept at the Uffizi Photographic Department
are leading to the discovery of high-quality photographs
characterised by visual framings and light effects that recall Verism and Symbolism
contemporary movements to the doctor from Livorno
photographing out of passion and not professionally
turns his lens only on what he is most passionate about
he showed a lively curiosity for unspoilt nature
A large part of Pachò's production known to date can be ascribed to 'Pictorialism'
a movement of the late 19th century that arose to elevate the photographic medium to the rank of painting or sculpture
but posed together with livestock or the tools of their daily work; thus
the aim is not to document a real moment as in photo-reportage but to immortalise an idyllic and poetic scene
The focus on commoners (some of whom live near his estates in Lari and Pontedera) is not dictated by an intent of social denunciation
but by an affection for a rural world destined to disappear
Pachò devoted himself greatly to landscape photography
Inspired by the Macchiaioli (and probably the Impressionists)
and was very interested in reflections on water
as well as the chromatic vibrations of the sky
Some photographs also hold historical value
for they document places or infrastructures that have now been transformed or vanished (such as the Vesuvius funicular railway)
seemingly less constructed photographs are also emerging
taken during social moments (such as outdoor games
some shots taken in 1911 on the hospital ship 'Menfi' or 'Memfi' (during the Italo-Turkish war in Libya) depart from the Pictorialist style and are closer to reportage
could bring to light new aspects of Pachò's artistic career and lead to the definition of a more nuanced figure than the idea of an exclusively 'romantic' photographer
Paesaggio e ambiente nelle fotografie di Lodovico Pachò
where theUrania Milan gives in to Libertas Livorno for 84-94
is just a stone's throw from the equally historic San Siro Hippodrome
So the metaphor becomes even easier: the team of Coach Cardani
seems like one of those trotters who stay in the top positions for the whole race and then suddenly break down a handful of meters from the finish line
For reasons that are not always easy to clarify and address…
An unwritten rule in basketball states that if you defend well
Urania's defensive application was so bad that it made that seem like the lesser of two evils
They end up circled in red on the notebook already in the second quarter: the minors-style backdoor taken by Hooker (16-26); the at least distracted rotations that make Amato end up under the basket on Buca
who dunks on his head from the height of his 216 cm (25-32); a series of delays in sliding that lead Potts to take on the 3rd foul already after 17'
are also in the head of coach Cardani when he shows up in the press room: «22
28 and 25 are the partials taken after the 19 of the first quarter
you can't make up for it in any way on the other side
with Hooker and Banks who always managed to create an advantage»
9 assists) is the absolute star and Hooker he acts as a perfect support for him (14
the whole Libertas Livorno takes advantage of Urania's defensive absences: all the Amaranto players are in fact on the scoresheet
When we asked about the possible margins for improvement of the centre born in Romania and grown between Umbria and Tuscany
coach Di Carlo (4-3 the record since his arrival on the Livorno bench) answers directly: «We spoke just this week and I told him that he can have a great future
everything stops; but if he continues to give it his all with commitment
a place in Serie A is the minimum achievable goal»
Of course he has tested his potential a Udanoh from the scoreboard also positive (13 points
but put in difficulty many times under the backboards
like the whole Urania: 40-33 for Livorno the rebounds count
with coach Cardani who in fact gives up trying the card No
no (only 3' on the parquet) to contrast at least in athleticism and centimetres (213 those of the Italian-Cameroonian centre) the physical presence of Buca
the only certainty for Urania is to have a place in the play-ins
the difference will be in which box of the scoreboard
with the advantage of the home field (hoping for a different presence than the pre-Easter one and without going into the repeated oddities of the calendar of this A2) or with the obligation to win away
An obligation that in some ways already exists for the challenge of Toast
against a team that is also very involved in the race for the play-in: to get there
a different defense will be needed and also another contribution from the more experienced players
Why the double digit scoreboards beloved (17) Potts (12) and But I hope (11
6 assists) hide the inability to influence the match as it would have been necessary and as has happened other times in the past
And why the test of Alexander Gentile (16 points
4 assists) definitively reveals a nervousness already glimpsed in the last outings at the Palalido
Furious - probably rightly so - for the kick with which Hooker secures a four-point game (70-78) and his fourth foul
Gentile gives in to the fatal rage in a sequence that sees him lose his temper on the bench during the last time out called by coach Cardani (who in vain invites him to calm down)
scream in the face of the referee (who pardons him) before the game resumes and finally eliminates himself from the match with an intentional unsportsmanlike foul on Banks
who perhaps in revenge will then hit the three-pointer for 84-94 with the game already over..
making a dear friend of ours furious in the press box
All episodes to be put behind us immediately to direct the future in another way: for Urania it is the moment of truth
the one that will finally tell how this season really went
And to return to the horse metaphor: if the driver does not make a good impression by remaining with the reins loose in his hand
it is the horse that the result really depends on
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But if the sporting aspect is constantly felt, it is what happens around that makes the atmosphere magical, with the boys, category "Aquilotti", who become friends with each other, even though they come from different cities, from different nations, given that, in addition to the Croatians, there were a Lithuanian and a Hungarian team.
The roll of honor. Regional phase: Mens Sana Siena (5 times), Pallacanestro Livorno (3), Abc Castelfiorentino, Libertas Liburnia, Don Bosco Livorno (2), Bellaria Pontedera; Usic Certaldo, Il Giornalino Livorno, Virtus Siena, Snai Montecatini, Pino Dragon's Florence, Cmb Carrara, Olimpia Legnaia, Grosseto, Endas Pistoia, Terranova, Pol. Sieci, Bulldogs Calenzano, Figline Eagles, San Miniato, Cus Florence, Invictus Livorno (1).
International stage: Zadar (7 times); Pattogos Budapest (3); Ca' Ossi Forlì, Bees Basketball Project Pesaro and VKM Vilniaus Krepsinio MoKykla (2); Bellaria Pontedera, Uisp Lucca, Virtus Bologna, Virtus Siena, Abc Castelfiorentino, Blf Kk Budapest, Scavolini Pesaro, Pallacanestro Favaro, Legnano Minibasket, KK Krka Novo Mesto, Terranova, Mens Sana Siena, Tavarnelle Poggibonsi, Aurora Desio, Don Bosco Livorno (1).
The FSRU Toscana terminal departed Marseille earlier this week following repairs to its anchoring system and is being towed south to western Italy, OLT Offshore LNG Toscana said Sept
It was scheduled to reach its offshore location 22 km from the coastline between Livorno and Pisa on Oct
it will be re-moored and prepared for reconnection to Italy’s nation gas network
Initially, after being taken offline, the terminal underwent maintenance activities at Genoa in June
It was later transferred to the Chantier Naval of San Giorgio del Porto shipyard in Marseille to complete intervention work to replace the bearing of the anchoring system
a cooling-down phase of the plant will follow
accompanied by the discharge of an LNG cargo
Commercial operations should resume on Nov
controlled by Snam and Igneo Infrastructure Partners
is connected to the national grid through a 36.5-km-long pipeline
FSRU Toscana has a regasification capacity of 5 Bcm/year
From Nov. 28 to Dec. 7, 2024, the city of Livorno will pay tribute to Anna Franchi (1867-1954), the great art critic who had the merit of being among the first to support the Macchiaioli movement and to intuit its importance (read here a long in-depth article on Anna Franchi
with a celebratory exhibition organized on the occasion of the 70th anniversary of her death
will be held at two venues: the Biblioteca Labronica F.D
Guerrazzi Library in Villa Fabbricotti and the G
Promoted by the Soroptimist International Club Livorno
in collaboration with the City of Livorno and under the patronage of the State Archives
the exhibition tells the story of the extraordinary figure of Anna Franchi
photographs and archival materials.The exhibition at the Labronica Library traces Anna Franchi’s literary and journalistic activity
highlighting her contributions as an art critic and her ties to the Macchiaioli movement
an artistic current deeply linked to Livorno
iconographic materials and documents related to one of her most famous works will be presented at the G
Fattori Civic Museum: the biography of Giovanni Fattori
which made her the first art historian to write about the Tuscan master’s life
The Let’s Re-evaluate Anna Franchi project includes additional initiatives: the laying of a plaque at the Montenero Famedio
where Anna Franchi will be the first woman remembered among the illustrious Leghorners
and thenaming of a citymiddle school.Appointments: Thursday
noon: Opening of the exhibition at the Labronica Library
with Mayor Luca Salvetti and curator Mariella Calabresi; Sunday
m.: Special opening of the Labronica Library with free guided tours; Friday
the first and last Macchiaioli by Jacopo Suggi
free admission; at the Museo Civico Fattori (Villa Mimbelli) Tuesday through Sunday from 10 a.m.-1 p.m
admission included in the cost of the museum ticket
A unique opportunity to rediscover an extraordinary woman who made her mark on the cultural and social history of Livorno and beyond
The hard-fought 66-71 victory on the Libertas Livorno field is not enough to avoid the play-in at Flats Service Fortitudo Bologna
who will face them at least as the top seed of the seed: this means playing only one round
The defeat in Verona is in fact counterbalanced by the resounding success in Brindisi of Urania Milano
who surprisingly snatched the last place for the direct post-season
given the ugly end of the regular season to which the rollercoaster success of the Modigliani Forum
obtained still without Fantinelli and conceding 20 points in the extreme quarters and 46 in the intermediate ones
Vencato 6.5: Coming back after a stop with such high voltage is certainly not easy
but with that tenacity in the other half of the field it's difficult not to give him a passing grade
5.5 mian: A tiring evening in choices as well as in percentages
adds 9 rebounds to his 20 points and limits his headers
But it is now illusory to have long-term expectations
Freeman 5: Uninspired and much less in control of the area than usual
so much so that Caja kept him on the pitch for just 20 minutes
Cloths 6: He is very clear about his role at this time: more sabre than foil
Even more so on a night where he scores the decisive baskets in the last quarter
F closes the regular season 9-2 when it exceeds 15 points
despite having more space given the owner's bad night
Coach Caja 6.5: Even if it doesn't directly give the playoffs
the victory is important to restore some confidence after the worst negative streak of the season
if it had always been this way the seasonal destinies would have changed
banks 6: He starts off after a terrible start
but he shoots from the arc and persists (he closes with 0/7)
Align 5.5: A step back from recent brilliant releases
Hole 6.5: On the bounce it is practically unplayable
filloy 5.5: Seven errors in nine attempts from the arc weighed on the game's balance
Sucker 5: He brings nothing from the bench
Coach Di Carlo 6: His team doesn't go far in a night of 6/32 in heavy shooting
But the season will be written entirely in the playout series for strong hearts against Vigevano
It is now more than 54 years since Giuliano Matteucci wrote that Ulvi Liegi ’s painting is “now finally recognized by all as one of the first voices of current modern art.” Yet despite the fact that it was one of the pivotal figures in the history of Italian art who uttered that vaticinium
particularly for the appreciation of Tuscan art between the 19th and 20th centuries
still in our contemporary times Ulvi Liegi’s name certainly struggles to appear alongside much better-known names in early 20th-century Italian art to which
For this reason we find particularly meritorious the exhibition An Original Artistic Language: Ulvi Liegi Interpreter of Light
which opened in the representative office of Castagneto Banca 1910 in Livorno on November 30
The new event is part of a successful series of exhibitions that have been promoted by the bank and curated by art historian Michele Pierleoni for several years now
and whose purpose is to highlight important Livorno and Tuscan artists.This time
though achieved with an exhibition contained in the number of paintings
because it has the merit of bringing back to the artist’s hometown an exhibition that had been missing for thirty-five years
displaying several nodal works in Liege’s artistic career
and by old and new essays capable of shedding light on multiple aspects of our artist’s art
The initiative sponsored by the Municipality of Livorno
the Jewish Community of the city to which Liegi was a shining member
of which the artist was the first president
is also followed by a special rearrangement of a room in the Giovanni Fattori Civic Museum entirely dedicated to Ulvi Liegi
Ulvi Liegi is the anagrammatic pseudonym chosen by Luigi Moses Levi to sign his works
born in Livorno in 1858 to a well-to-do Jewish middle-class family
would later die in his hometown in 1939 in poverty
on the eve of a war he fortunately did not live through
but in time to suffer the wretched racial laws passed by the Fascist Regime
Reconstructing the biography of the Leghorn painter is an arduous task: there are not many certain biographical elements
and rather arbitrary is the placement of his artistic experience in the group of post-Macchiaioli painters
which was necessary for the enhancement of the Leghorn group at the time
making it unsuitable to accommodate very different artists
because Liegi does not belong to that generation
namely somewhere between the Macchiaioli and post-Macchiaioli painters
There is no doubt that the common denominator of all these experiences and all these protagonists is to have made the Macchiaioli lesson their own
and even in Liegi’s training this had a major weight
although his first rudiments in art were learned under the aegis of Luigi Corsi and Carlo Markò jr
and then perfected at theAccademia d’Arte in Florence by following the courses of Giuseppe Ciaranfi and Enrico Pollastrini
all artists imbued with Romantic stylistic features
the first proofs in painting that we have of him are rather influenced by the example offered by two of the most important fathers of the Macchia
Signorini and Fattori were for him “two prodigal sources of most fertile sap,” as Matteucci wrote
on which the Leghorn painter would drink for no less than fifteen years
and yet even later their legacy would not be squandered
Among the earliest essays in the exhibition that betray this filiation we find a nucleus of important works
brushwood and earth that occupies half of the composition seems to be woven with chromatics inferred directly from Fattori
the colors are still quiet and blended together
These are works built on a serene and moderately panic contemplation
as in the work The Arno Brings Silence to Its Mouth of the Livorno Foundation
The painting shows one of the famous shacks with nets that insist on the mouth of the Tuscan river
a subject to which Liege would often return with ever-changing results
Some of D’Annunzio’s words echo in the work
the pictorial resolution is not magniloquent but subdued; everything is calibrated
to return an introspective scene pervaded with melancholic calm
The same subject appears in a well-known masterpiece by Francesco Gioli
a painting painted the same year as that of Liege
but still belonging to the poetics of late 19th-century naturalism
though not marked by an equal pictorial tightness
shows clear openings toward a painting of a new course
Also to this early phase belongs the enigmatic painting The Painter’s Studio of 1885
from theMatteucci Institute in Viareggio: the interior’s subject matter is almost a rarity for Liege; moreover
it shows some features of French impressionist painting
according to the few known data from the Leghorn artist’s biography
he would encounter only the following year
where he would come into contact with Federico Zandomeneghi and most likely visit the eighth Impressionist exhibition in rue Lafitte
The interior of the artist’s house is delineated with rapid
the many furnishings and furniture elements that crowd the space are harmonized by soft brushwork and careful tonal composition
making the atmosphere both brilliant and vibrant
recalling certain interiors by Bonnard but also
The result achieved is of such genuine interest that it led critic Stefano Fugazza to wonder why this path was not later followed
The space painted by Liege tells us not only about a domestic environment that for the Leghorn artist was always a relevant part of his life
but also about that important collecting activity of which he became a promoter
leading him to accumulate works by the Macchiaioli and other colleagues
but also Japanese prints and other oriental elements (as seen in the screen)
And perhaps it was thanks to his impressive collection of prints that many Leghorn artists were able to update their painting with novations from the land of the Rising Sun
who is present in the exhibition with a small painting representing a Japanese doll
a sign of a cosmopolitan culture as well as a serene economic tranquility
is crucial to the later outcomes of his painting
He stayed and exhibited several times in London between 1888 and 1889
while in 1889 he was again in Paris where he participated in the Universal Exhibition with two paintings
During this same period he made friends with Degas
These encounters and travels would show the artist the many opportunities opening up for modern painting
which Liege transposed in a painting such as Country of 1895 in which he still adopts a Macchiaioli-like layout
not far from certain solutions of Signorini or Lega
but the à plat backgrounds denote his personal reflection on French art
and perhaps in particular on Gauguin and the Nabis
the solutions in Liege’s painting are manifold
and although the lessons learned in Tuscan soil will never be placed in the cellar
to the point of sometimes becoming subordinate
with a continuous effort to surpass realistic perspectives toward a domination of color increasingly free from the cage of drawing
and a search for synthesis of the visual datum
to the advantage of a study of a breezy and brilliant expression
All in an unconventional language that certainly flaunts some tangents with other Leghorn artists
but is characterized by a highly personal interpretation
which is revealed to visitors thanks to the curator’s wise choice to also place in the exhibition a piece each by Giovanni Bartolena
Graphic simplification through the path of color also distinguishes Bartolena
if Puccini was a master of forms created with color
Ulvi Liegi was a master of color freed from forms
By the turn of the century Liegi’s painting was mature and gave some of the most exciting works such as the 1898 Livorno Market in which delightful chromatics are enhanced by a design made of small fragments
the pictorial matter of the tesserae is never homogeneous and flat
but sometimes clumps together or becomes more bloodless
Even more extraordinary is Bocca d’Arno of 1900
bringing the artist closer to the fauve researches
which would take off only a few years later
no concessions are made to the real datum in order to propose a painting that first and foremost is emotional and intellectual vision
Liege confronts the same theme and practically the same perspective as a famous Signorini painting
the outcomes could not be more different: to the Macchiaioli’s careful and anecdotal description
Liegi through a warmed palette and a rapid
frayed brushstroke achieves a composition where the visual field seems to be involuted in a progressive and slow advance
while the passers-by are resolved with a few marks and in the background the architectures interpenetrate like a complex inlay
From 1908 Ulvi Liegi returned permanently to his native Livorno
and although economic and family problems befell him
his quest toward the dissolution of drawing in favor of a greater expressive freedom of color did not cease
from his “intellectual hermitage” as Mario Tinti wrote of it
in his cultured and domestic reserve embellishes his palette while he works a drastic synthesis on the drawing system
and not infrequently the support of the painting
becomes more and more functional to the success of the painting
as in the painting Ardenza bagni Pejani - Impression Ardenza of 1930
calligraphic handwriting and an increasingly volatile brushstroke
purged of all worldly narrative to become a contemplative and silent exercise
Added to these are the architectures of Livorno
such as the synagogue and the Baracchina rossa
see a skillful concatenation of chromatic tessellations and graphic signs
The Livorno exhibition also aims to surpass the constant leitmotif that befalls Ulvi Liegi’s production
that the artist over the years has become content to wearily repeat the usual subjects
curator Michele Pierleoni has placed Campagna
where the composition liquefies as we watch in a shifting of planes
marking according to Pierleoni a closeness between the Leghorn artist and Chaïm Soutine’s interpretation of landscape
in the Leghorn exhibition we come across the refined personality of an artist who was able from his refuge in the Tuscan province to intuit and sometimes even presage important outcomes of international modern painting
in a continuous process of exaltation of color
was not always sustained by a pictorial tightness free from uncertainties and weaknesses
he has the undoubted merit of standing as one of the most original and interesting Tuscan voices of his time
as if flesh could defend the stone and overcome time.” Perhaps this expression left to us by José Saramago in his Journey to Portugal is among the most poignant and evocative passages of a relationship
between the individual and the bricks and rock that make up the vestiges of the past
I have always thought that these words could have been quietly uttered by a Livorno retiree
admittedly little more than a pile of bricks
of a watchtower in the lazzeretto of San Leopoldo in Livorno.Mazzoni’s life has somehow been marked by the presence of those corroded stones
not only today that he is a frequent visitor to the beach where the tower stands
known as the “Scogli dell’Accademia,” named after the Naval Academy that since the late 19th century has insisted on the spaces that were once the maritime health facility
several episodes in his family history are linked to those bricks
so much so that he decided to allocate part of his savings from his metalworker’s pension for the restoration of the tower
But making his wish come true was not easy: Mazzoni in fact found many closed doors
until his request was advocated by the Committee “The Forgotten Jewel,” which over the years had been campaigning for the recovery of important monuments such as the Crypt of San Jacopo and the Statue of Peter Leopold by Domenico Andrea Pelliccia
The committee’s experience was instrumental in juggling bureaucracy
if it could not restore the structure to its original appearance by raising the collapsed top part
aimed to consolidate it to prevent future new collapses
But what makes this operation important is not so much the intimate and personal story of Alberto Mazzoni
but the possibility of having ensured the preservation of a trace of the past
The tower of which virtually all memory had been lost
is valuable evidence of the fourth and last of the lazzeretti with which the city of Livorno was endowed
structures necessary to attempt to stem the plagues that spread through ships
was equipped with walls and protective towers
named after thaumaturgic saints or saints with ties to the locality
and among these appeared the tower of San Lazzaro
the only one that was preserved after the bombings of World War II
the structure that escaped the damage of the conflict is cloaked with an additional value
an iconographic importance that was carved out for it by the thriving cadre of artists of the Labronica school
The initiator of this interest was probably the post-macchiaiolo master Mario Puccini
The Leghorn painter in his work had always opted for unusual iconography
as pointed out by Giorgio Mandalis in the catalog of the exhibition dedicated to the artist held in 2021 at the Museum of the City of Leghorn
had always stayed away from the most characteristic views of the city
while curious is the attention the painter turned toward the lazzeretto
perhaps drawn to its geometries as a professor of technical drawing
Puccini evidently had a soft spot for the melancholy lazzeretto
where the wall and towers give rise to solid
whose warm rock gives unexpected chromatic effects
silhouetted against the skies of Livorno and lapped by the sea
recalled the works Puccini created for Caffè Bardi
a historic artists’ hangout active in the early decades of the 20th century
produced “views of Livorno: seascapes with sailboats and barges
makes a grand scene of his beloved lazzeretto
showing off in large a synchrony of reds and blues that warms all the dark surroundings of the café with sunshine,” and again in another passage
Lloyd speaks of this Puccinian infatuation: “He stops behind the Lazzaretto towards sunset
corroded and worn by the saltiness of the Medici fortress.” This is a tangible sign of how Puccini’s passion for the lazzeretto certainly should not have been a mystery to his contemporaries
Probably the tablet titled The Lazzeretto of Livorno is the oldest one that has come down to us dedicated to the maritime health structure
Through a perspective typical of Puccini’s
with a bold foreshortening from below upward
the painter paints the low cliff jagged with red and brown tones
a texture interrupted only by the ’emergence of the bare board and a few pools of saline water; above it rises the imposing bulk of the lazaret wall
which goes to integrate by the chromatic solutions chosen
From behind the walls barely peeks out the summit part of the keep of San Rocco
the round tower placed to protect the entrance to the little harbor of the lazaretto
and just above it a small handkerchief of burning sky
To the same years is probably also to be traced a work with which it shares the palette and also a certain pictorial texture The wall of the ancient lazaretto of Livorno
The foreshortening presented is slightly varied: here the perspective is not barred by the massive wall
then placing our very turret in the center of the composition
The composition is divided into two partitions
the one on the left where the clear blue of the sky meets that of the sea
and the red and brown tones of the turret and its respective wall that are integrated with the cliff on the lower right
The result is a less stuffy and pressed scheme than in the previous work
Mario Puccini dedicated many other pieces to the lazzeretto
but perhaps the most famous are the panels created for the Caffè Bardi
These are works of uncommon size for Puccini’s production: Il Lazzeretto (Boat with fisherman seated from behind) and Il Lazzeretto (Boat with boy standing)
unless works held in private collections in the future refute this thesis
that Puccini was the first among Leghorn artists to turn his attention to the lazzeretto and certainly the one who set the most paintings there
was elected as the point of reference for an entire generation of artists
who saw in him the continuer of the tradition begun by Giovanni Fattori
the Labronico Group was formed in his honor
which initially should have been called the “Mario Puccini” group
Puccini’s death also witnessed a new critical analysis of the artist: an article by the powerful critic Ugo Ojetti aimed at exalting the figure of the artist was published in the “Corriere della Sera”; and then several of his works appeared in various exhibitions
This new exhibition fortune that invested Puccini’s production
together with the role that Leghorn culture was carving out for him in the local pictorial legacy
probably prompted more and more artists to measure themselves against the subject of the lazzeretto
But of all the iconographies indicated by Mario Puccini
it would seem that one in particular has entered the cultural carrier of more than one generation (moreover
the one with which Puccini was confronted with only one piece): it is the turret of San Lazzaro
eternalized in the painting Il muraglione dell’antico Lazzeretto in Livorno
would have been painted several times by Livorno painters
preferring it instead to the more characteristic keep of San Rocco
What is the reason for this iconographic success we can only speculate
A choice perhaps dictated not only by orientations of taste
Of all the views of the harbor health structure only Il muraglione dell’antico Lazzeretto in Livorno would have had any prominence in the years immediately following Puccini’s death
the painting was exhibited in 1922 in the V Mostra del Gruppo Labronico and in 1930 in the Centenary Exhibition of the Società Amatori e Cultori di Belle Arti held in Rome
precisely in conjunction with the Gruppo Labronico exhibition
the work also rose to prominence in the print media thanks to the interest of Campania critic and man of letters Gino Saviotti
who wrote about it several times in “Il Telegrafo” and the magazine “Pagine Critiche.” A few years later
Mario Tinti also included the work in his publication dedicated to Puccini
more and more artists pushed themselves to confront this emblematic work by the great painter
There is an endless number of works dedicated to the same subject by even very different artists
more faithful interpretations alternating with more original works
good paintings and stereotypical reproductions
Among the oldest is perhaps that of Gino Romiti
Romiti replicates the foreshortened view of the San Lazzaro turret
preferring Puccini’s usual perspective
The result is a painting that is less expressive and laden with ominous foreboding
with no unexpected coloristic suggestions to give it a more earthy reading
closer to a simplified Factorian verbiage of which Romiti had been a pupil
and of which he had become one of the greatest interpreters
Divisionist Benvenuto Benvenuti also confronts Puccini’s legacy
in the operas Tramonto and Notte al lazzeretto
the one most faithful to the primitive model
he sets his work in a gray night interspersed with small blue filamentary brushstrokes of a Divisionist matrix
while the stones that make up the turret and the wall are scratched by a tangle of multicolored graphic signs also found in the rocks
captured when the now waning sun is perfectly in axis with it
The fiery star is the center of the composition
The painter Renuccio Renucci repeatedly reiterated paintings with views of the lazzeretto and in particular of the tower of San Lazzaro
in compositions that were sometimes larger
We know of at least six works with the same subject
yet never repetitive: Renucci captures the tower at different times of the day
crystal clear days alternating with cloud-laden nights or afternoons where the wind rages the sea
the artist adapts the pictorial register with the changing temperament of the painting
offers an almost intimate synthesis of the landscape
The certainly lesser-known Gino Centoni gives a more rambling and pastel reading of the turret
while Carlo Domenici returns to models more in keeping with a late naturalism
The artists of later generations were not exempt from the fascination with the subject of the San Lazzaro turret
and although perhaps the confrontation with this Puccinian iconography lost those characters of systematicity that the artists of the first Labronian Group had paid tribute to it
it had nonetheless been assimilated into the heritage of images and views of the Labronian pictorial tradition
In the second half of the twentieth century up to the present day
some painters have continued and still continue to deal with the foreshortening bequeathed by Puccini
to determine whether the will and awareness to pay homage to the old master’s tradition with this pictorial foreshortening is also present in later artistic generations
or whether the choice is not due to the fact that the veduta has now entered the common imagination
Among them are painters of even very different qualities
but united by a very local penchant for figurative landscape painting
Of some interest are those left to us by Giorgio Luxardo
unlike the still landscape so far analyzed in the works of the other painters
His warm-colored paintings show us the tower of San Lazzaro now stumped
the much larger composition no longer places the focus on the architectural bulk of the turret and the walls
but they become part of the background of picturesque seascapes
It is no coincidence that even the name by which these works are known no longer bears reference to the lazzeretto and its tower
but instead to the toponym by which this place is known and frequented by bathers today
namely “cliff (or rocks) of the Academy.” These are just some of the passages identified starring the tower of San Lazzaro
and published in the writer’s book entitled La Torretta di San Lazzaro
The Lazzeretto of San Leopoldo in Leghorn Painting
wishing to draw a parallel that seems fitting to us
the tower of San Lazzaro stands to Puccini as the splendid tamarisk of Antignano eternalized by Giovanni Fattori in the painting la Libecciata stands to the progenitor of Leghorn painting
Both were masters and references for entire generations of artists
both linked their legacies (at least in the local sphere) to these respective views
until they became acquired images of an indigenous tradition
Why then both subjects had luck as pictorial testaments of the two masters, we can only speculate, but in this regard the words used by Federico Giannini, editor of this newspaper, in an article devoted to Libecciata
like a self-portrait.” Here I believe that a not dissimilar speech can also be spent on Il Muraglione del Lazzeretto
a painting by Mario Puccini and the tower of San Lazzaro that is its main subject
At the end of this certainly not brief digression on the turret
one will then understand the importance of having safeguarded that pile of bricks
which when properly read show themselves in their value as an important testimony of the past and a monument made iconic by the painting that artists have recorded in different epochs and different light and climatic conditions
I believe that perhaps the ideal approach to not losing all this is to follow that path already indicated by Tomaso Montanari
when about cultural heritage he writes to “look at the stones and see not the stones but the people.”
Italy’s floating regasification terminal operator OLT Offshore LNG Toscana
has kicked off the required procedure to bring its floating storage and regasification unit (FSRU) back online since maintenance activities have been wrapped up and the unit will soon be back at its post off the coast of Livorno
thanks to a contract with San Giorgio del Porto (SGdP)
Following the conclusion of the extraordinary maintenance activities
the FSRU Toscana left Marseille on September 30 to be towed back to Italy
The estimated time of arrival (ETA) at the site off the coast between Livorno and Pisa
for its re-installation and reconnection to the gas system
OLT Offshore LNG Toscana disclosed its plan to start a tender process to identify a subject able to discharge 30,000 cbm of LNG
which are the required quantities of liquefied natural gas for the cool-down and gas-up activities of the FSRU Toscana terminal
necessary for cooling the LNG storage tanks and all cryogenic parts of the plant to put gas in the terminal
Those interested in the tender procedure have been advised to send their economic offer and supporting documents on October 10
Based on the firm’s annual unloading and loading schedule for the gas year 2024/2025
the next awarded delivery slot arrival window with associated regasification capacity is on November 24
The operator is now awaiting the completion of the procedure for receiving quantities of liquefied natural gas concerning the cool-down and gas-up activities of the FSRU Toscana terminal
necessary for cooling the LNG storage tanks and all the cryogenic parts of the plant needed to put the terminal in gas mode
moored about 22 km off the coast between Livorno and Pisa
will be once again connected to the national grid through a 36.5 km long pipeline
This FSRU has a maximum authorized regasification capacity of 5 billion standard cubic meters a year as it got a green light to increase annual regasification capacity from 3.75 billion to about 5 billion standard cubic meters per year in May 2023
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