At the moment there are traffic jams reported between Latisana and Portogruaro in the direction of Venice A serious accident occurred around 10,15:4 on the A452 motorway on the three-lane stretch between Latisana (Ud) and Portogruaro (Ve) in the direction of Venice A light vehicle and two road maintenance vehicles were involved in the accident one from Autostrade Alto Adriatico and one from an external company at kilometre XNUMX just before the Portogruaro toll booth exit a temporary construction site had been set up along lane three (i.e the fastest) to fix the central barriers; the construction site was pre-signposted one kilometre before for those coming from Trieste and marked off by cones The work was therefore being carried out according to safety criteria in a time slot in which traffic was flowing normally along the route (Trieste-Venice) then hit the central safety barrier several times – for reasons being investigated by the police – and went on to hit at high speed the maintenance vehicle of Autostrade Alto Adriatico – stopped inside the construction site – which hit the vehicle of the external company that was carrying out the work namely the occupants of the light vehicle that caused the accident the staff of Autostrade Alto Adriatico and the mechanical rescue vehicles At the moment there are queues reported between Latisana and Portogruaro in the direction of Venice Read also other news on Nova News Click here and receive updates on WhatsApp Follow us on the social channels of Nova News on Twitter, LinkedIn, Instagram, Telegram Concord National MuseumThe Roman urn found in a garden near Venice A massive Roman urn once used to hold the ashes of the dead after cremation was recovered 50 years after a family in northern Italy found it on their property — because they never reported finding it This massive limestone artifact was found in the small town of Portogruaro dates back to sometime between the first century B.C.E and features an inscription indicating that it was commissioned by Attius Lucullus The discovery was first reported on June 14 by the Italian publication Finestre sull’Arte following an investigation that took place between October 2023 and January 2024 The urn was originally found in the Portogruaro countryside at a farmhouse that was acquired as part of an inheritance The new owner was fully cooperative in the seizure the urn was first found sometime around the late 1960s or early 1970s in a field near the cottage it changed hands and came into the possession of another party after which it was abandoned in the cottage’s garden until new owners moved in and reported it to the Padua Superintendency Concord National MuseumThe small cavity carved into the top of the urn where ashes of the dead were once held When the investigation concluded in January 2024 the Pordenone Public Prosecutor’s Office ordered the release of the urn to the state It was then assigned to the Concordiese National Museum in Portogruaro The urn’s inscription is only partially legible but it does offer some insight into who originally commissioned this artifact and why the urn’s text has been deciphered as follows: From what historians have been able to glean thus far the partially legible inscription suggests a dedication by a member of the prominent Atti family and several other similar dedications have been found in ancient Altinum The text indicates that Attius Lucullus was dedicating the urn to three male relatives: his father Lucius though researchers noted that it’s difficult to read his name on the worn and abraded inscription This funerary box is made of limestone and cut into a roughly square there is a square cavity that would have held the cinerary remains there would have been a lid to cover this cavity but it are actively working to further investigate the urn This includes both technical and art-historical examinations which are set to be carried out by archaeological officials from the Superintendency of Padua and the Veneto Regional Museums Directorate as well as professors from Ca’ Foscari University in Venice After reading about this remarkable discovery, check out our gallery of fascinating ancient Rome facts. Then, learn all about the fall of the Roman Empire Women’s History of Venice at the Bishop’s Palace in Portogruaro which hosts the exhibition La dogaressa tra storia e mito Venetian femininity from the Middle Ages to the 20th century The Distretto Turistico Venezia Orientale is the proposing and organizing entity under the important Operating Protocol signed in June 2021 between the Fondazione Musei Civici Venezia - MUVE the Municipality of Portogruaro and the Distretto itself in order to carry out far-reaching cultural projects of proven scientific quality capable of enhancing the historical and cultural link between Greater Venice and Little Venice overlooking the banks of the Lemene River The exhibition also enjoys the support of the Veneto Region under the Law on the Enhancement of Venetian Identity.The exhibition Director of Museum Activities of the MUVE Foundation assisted by Pietroluigi Genovesi is curated for MUVE by Daniele D’Anza and Luigi Zanini and for the Distretto Turistico Venezia Orientale by Pierpaola Mayer who is also responsible for technical direction The exhibition is made possible thanks to the active participation of the Municipality of Portogruaro Banca Prealpi SanBiagio and many important companies in the area some of them in continuity others for the first time who have long supported and believed in this cultural project to which is added the important technical partnership with Italo S.p.A Venetian femininity from the Middle Ages to the twentieth century proposes an exhibition itinerary that for the first time draws attention to and sheds light on the figure of the dogaressa highlighting her role and importance at the time of the Serenissima and whom today we can consider on a par with a.. The exhibition therefore aims to explore Venetian femininity through an anthology of significant episodes extrapolated from the lives of some of the most famous dogaresses promoters of entrepreneurial projects and many other innovative and visionary initiatives that have come down to us Five sections each occupy the five rooms of the Bishop’s Palace titled Byzantine Opulence and Venetian Moroseness tells how in the wake of the last foreign dogaressa the Greek Theodora wife of Doge Domenico Selvo (1071-1084) the refined art of perfumery was introduced in Venice which then had an unparalleled impetus in the following centuries reaching in the Renaissance the apex that led it to be recognized as the capital of perfume Venetian Murano glass perfume holders from the 17th and 18th centuries and a selection of raw materials used in the perfumery art will be on display allowing interaction with the public through an interesting olfactory and tactile sensory experience This first room also reviews the dresses worn over the years by the dogaresses starting with the morose one presented by Dogaressa Felicita Malipiero in Bellini’s painting continuing with those highlighted in the reproductions engraved in some important printed volumes Virtuous Patronages and Noble Erudition consolidates the authoritative virtuous and positive role played by the dogaresses in contributing to defend and increase local craft production wife of Pasquale Malipiero (1457-1462) and descendant of one of the Republic’s most illustrious families went down in history as patroness of printing and lace it is due to her if Burano then became the world’s first lace center It was she who gathered with her a large number of young women of the people and initiated them into the delicate work of weaving which gave luster to the city for the exquisiteness of the product and means of livelihood to many people of the people paintings and prints testifying to this highly original practice are displayed wife of Lorenzo Tiepolo (1268-1275) went down in history for being the first dogaressa to make her solemn entrance into the Doge’s Palace in a procession headed by the guilds of arts and crafts Forty years after Zilia Dandolo Priuli’s triumph another very famous and even more pompous coronation took place in Venice The Golden Rose that was given to her on the occasion was upon her death assigned to the Treasure of St Myths and Revivals of the Doge’s World features Francesco Hayez ’s painting I due Foscari which well illustrates the heartbreak experienced by Marina Nani second wife of Doge Francesco Foscari (1423-1457) for accepting gifts and deniers from gentlemen and even the Duke of Milan such an operation was precluded: the crime of embezzlement was therefore configured The reason of state prevailed over everything To this affair Lord Byron dedicated the drama The Two Foscari later performed in the theater by Giuseppe Verdi in 1944 the fifth section The Dogaresses of the 20th Century is reserved for theLast Dogaress an appellation that was reserved for those women who distinguished themselves for the patronage reserved for the arts and who brought prestige to Venice at a time when the Serenissima Republic had already fallen This title was awarded to Peggy Guggenheim and before her to Countess Anna Morosini (whose portrait by Lino Selvatico as well as rulers throughout Europe: a woman with a fascinating and complex personality It is also flanked by several Focuses of the Territory dedicated to other women from Isabella da Passano Signora della Frattina (1542-1601) to Lucia Memmo (1770-1854) to Marta Marzotto (1931-2016) The exhibition designed in a dynamic and interactive form in addition to important paintings of the Venetian school including the portrait of Doge Alvise I Mocenigo by Jacopo Tintoretto from the Gallerie dell’Accademia in Venice lace and other artifacts of Venetian material culture from the Venetian civic collections For all information, you can call +39 0421 564136, send an email to info@palazzovescovile.it or visit MUVE’s official website 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 The Old Vine Conference’s first field trip brought together two of Italy’s leading experts in ancient vineyards and the founders of The Old Vine Conference and promoting old vines and the wines they produce one of the fathers of Italian viticulture and oenology an agronomist and expert in Friulian viticultural and oenological culture Professor Fregoni described Villa Bogdano 1880 as “the old vine capital of Italy” 117 vines of which are of historical significance in Lison di Portogruaro Fregoni stressed how important it is to preserve ancient vineyards like those of Villa Bogdano 1880 for wine quality and genetic resilience also led a tasting of fine old vine wines from across Italy highlighting the key messages discussed on the field trip The Old Vine Conference was established by Masters of Wine Sarah Abbott and Alun Griffiths and Leo Austin to create a globally recognised category for old vines and their wines We are using cookies to give you the best experience on our website You can find out more about which cookies we are using or switch them off in settings This website uses cookies so that we can provide you with the best user experience possible Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings we will not be able to save your preferences This means that every time you visit this website you will need to enable or disable cookies again Get the most important Gymnastics stories delivered straight to your inbox Casa Russolo, a space dedicated to Luigi Russolo that will become a permanent gallery 2018.The artist signed the Manifesto of Futurist Painting together with Boccioni and began his artistic activity with a series of engravings The last ten years of the painter’s life were characterized by landscape and portrait painting The new space dedicated to him will display the entire collection of original plates of all his etchings and many of his oil paintings owned by the Municipality of Portogruaro as well as an extensive multimedia documentation of his production Luigi Russolo also invented theIntonarumori an instrument capable of modulating noises of synthesizing them: an innovative technique for twentieth-century music Locked within a legendary Milanese rivalry AC Milan’s Lorenzo Buffon didn’t just duel for goalkeeping supremacy with Internazionale’s Giorgio Ghezzi they also fought one another for the love and affection of Edy Campagnoli the catwalk model turned television star who was billed as the most famous woman in Italy The cousin of Gianluigi Buffon’s grandfather Lorenzo’s footballing exploits put the family name in lights long before the 1978 arrival into the world of his cousin twice removed Buffon benefitted from the misfortune of his first club and despite a comfortable mid-table finish a restructuring of the lower divisions of the Italian league pyramid had cast the Serie C side into the newly created Promozione a vast regionalised amateur system that initially equated to the fourth tier of the Italian club game but is now the sixth Having turned to their youth ranks for fresh impetus in the 1948/49 season the Venice-based club battled ferociously for an immediate return to the condensed Serie C unlikely to have been risked in the higher division was given his chance in the Promozione by Portogruaro – and it so very nearly paid off it had been the goalkeeping of Buffon that had kept Portogruaro in contention for the title conceding just 30 goals compared to the 51 that San Donà shipped Ultimately it was the lack of a prolific striker that made the difference between success and failure with Portogruaro finding the back of the net 34 times fewer than the champions While the signing of Buffon flew under the radar, he was joined in that summer’s Milan intake by Swedish internationals Gunnar Gren and Nils Liedholm, who arrived on the back of the early promise shown by their compatriot Gunnar Nordahl who had been signed the previous January and had plundered 16 goals in just 15 Serie A appearances during the back-end of the 1948/49 campaign Read  |  Gunnar Nordahl: the first great calcio import was as highly attuned to the potential of the teenage Buffon as it was to the polished products of Gren an attacking triumvirate who would be given the eternal moniker of Gre-No-Li This marked the point in time when Milan as a city began to stand toe-to-toe with the undeniable power-base of Italian football, Turin, partly through the return to prominence of both Milan and Inter – who combined would win six of the 10 Serie A titles handed out during the 1950s – and in part due to the tragic loss of the Grande Torino side that perished at Superga by January 1950 Buffon had made his debut for Milan Any projected contest for the goalkeeping position was a short-lived one he was part of the Milan side that travelled to the Stadio Comunale for a historic encounter with Juventus In the very first live televised Serie A game on an afternoon when the Gre-No-Li combination accounted for five of the goals While the 1949/50 Scudetto still went to Juventus that cold February afternoon served notice to Turin that something special was stirring in Milan A year later and Milan had ended their 44-year title drought finding themselves in such a commanding position that they failed to obtain a victory in their final five games of the season yet still clinched the Scudetto with a week to spare Buffon’s rise to prominence with Milan had been meteoric and Ghezzi – just seven months Buffon’s junior – wasn’t far behind him joining Inter in the summer of 1951 after spells with Rimini in Serie C and Modena in Serie B Watching on from the sidelines as the new season began by October Ghezzi was the first-choice goalkeeper for the Nerazzurri Both of Milan’s evolving megaliths now had a young dynamic and supremely talented goalkeeper with which to build their ever-strengthening line-ups in front of Juventus comfortably reclaimed the title in 1951/52 thanks to the goal-scoring exploits of not just the prolific Danish duo John Hansen and Karl Aage Hansen but also domestic legend Giampiero Boniperti The city of Milan struck back at Turin during the following five seasons with Inter taking the Scudetto in back-to-back campaigns in 1952/53 and 1953/54 while Milan claimed the prize in 1954/55 and 1956/57 successes which sandwiched Fiorentina’s surprise but emphatic first Serie A title win Read  |  The tragedy and triumph of Il Grande Torino a World Cup-winning defender with Italy in 1938 but also in the battle for the heart of Campagnoli who had come to widespread public attention thanks to an array of talents she had shown in opera Ghezzi travelled to the 1954 World Cup finals in Switzerland the Inter ‘keeper winning the competitive battle for the gloves to play the initial group games against the hosts in Lausanne and then Belgium in Lugano A narrow loss to Switzerland and a 4-1 win over the Belgians meant that the Azzurri were faced with a playoff match in Basel – against the host nation once again – in which a place in the quarter-finals was the prize With question-marks over Ghezzi’s mentality and a propensity to sometimes allow his emotions to get the better of him it was instead Juve’s uncapped Giovanni Viola who kept goal for Italy in the match against the Swiss In the wake of their disappointing early exit from the 1954 World Cup – and Milan winning Serie A in 1954/55 – Italy soon turned to Buffon who reputedly never recovered from his rejection by Campagnoli.  Milan’s return to title-winning ways in 1955 also coincided with the birth of the European Cup and in a titanic semi-final against Real Madrid in 1956 the first leg of which was played out at the Bernabéu in front of almost 130,000 spectators Milan came up desperately short of reaching that very first European Cup final losing out 5-4 on aggregate despite a stunning late fightback that had Madrid on the ropes They might have come up short against Los Blancos but Milan had without doubt stamped their pedigree across the conciseness of the entire continent Following Fiorentina’s exceptional Scudetto of 1955/56 conceding only 20 goals in a campaign they navigated with only one defeat Milan again won the title the following year. Having dominated so much of the 1950s with Milan and Inter respectively the winds of change were beginning to blow for both Buffon and Ghezzi by 1958.  Read  |  Sandro Mazzola: from tragedy to triumph It was a poor league season for both Milan and Inter in 1957/58 while Juventus cruised through to win their first Scudetto in six years This was compounded by Italy’s failure to qualify for the World Cup finals in Sweden when the Azzurri slipped to defeat to Northern Ireland in Belfast in the group decider on a day when inconsistent club fortunes kept both Buffon and Ghezzi out of the line-up The only bright spots for Buffon were Milan’s run to the final of the European Cup – where he was in imperious form during the semi-finals against a post-Munich Air Disaster Manchester United – and his upcoming marriage to Campagnoli.  Whether or not it was by design or coincidence ahead of Buffon and Campagnoli’s impending nuptials Ghezzi departed Inter and the city of Milan in the summer of 1958 to join Genoa He seemed to be a man backing away from the scene of his greatest triumphs and tragedies Any sense of victory Buffon might have felt over his great rival was only a fleeting one Missing the 1958 European Cup final through injury Milan again lost out narrowly to Real Madrid – 3-2 in extra time – in his absence The next season brought Buffon and Milan another Serie A title but it would prove to be his last season with the Rossoneri Suspicions over an escalating number of injuries prompted the Milan hierarchy to assess potential successors to Buffon Milan looked toward Genoa and controversially signed Ghezzi Buffon went in the opposite direction and suffered the ignominy of relegation at the end of the 1959/60 campaign it had been a season where Buffon had sat out many games through injury it didn’t stop Inter taking a chance on him Inter and Milan had essentially traded their iconic goalkeepers Despite Juventus taking the Scudetto in 1960/61 all eyes were locked upon the renewed rivalry in Milan between Buffon and Ghezzi The first Milan derby of the season went the way of Buffon and Inter while Ghezzi and Milan won the return fixture With Buffon back to his very best and fully fit once again the race was now on not only for the domestic honours but to keep goal for the Azzurri at their first World Cup for eight years where he headed to Chile as captain of the Azzurri Read  |  Gigi Riva and the unstoppable thunder of Serie A Playing in Italy’s opening game against West Germany, Buffon kept a clean sheet in a goalless draw, but he was unfit to face the hosts in their second game. In what became known as The Battle of Santiago Italy and Chile played out one of the most violent games of football the World Cup has ever known in his one and only appearance for the Azzurri Buffon could only watch on in horror as his nation fell to a stark and brutal 2-0 defeat When Buffon returned to the team to face Switzerland Italy were already out of the World Cup thanks to the result of the previous day’s game between Chile and West Germany Neither Buffon or Ghezzi represented the Azzurri ever again The 1962/63 season offered wonderful compensation for both players Ghezzi helped Milan become the first Italian club to win the European Cup both Buffon and Ghezzi had retired from the game wound down his career as cover at Fiorentina Ghezzi strived for more major honours with Milan Buffon and Ghezzi seemed to operate in symbiosis the increasing degrees of one-upmanship lifted them both to ever dizzying heights who went by the nickname ‘Lorenzo il Magnifico’, was offset by Ghezzi the temperamental artist with great reflexes agility and a knack of reading the game perfectly who was bestowed the moniker ‘Kamikaze’ due to his habit of racing from his area to face down on-rushing attackers having been able to watch the entire career of his cousin’s grandson while still maintaining his loyalty to Milan down the years keeping a watchful eye on the emergence of Gianluigi Donnarumma the next great iconic Italian goalkeeper-in-waiting Before Gianluigi Buffon there had been another in the shape of Lorenzo they will have their work cut out to come close to the achievements of their predecessors.    By Steven Scragg @Scraggy_74 CONTEMPORARY ART MAGAZINE SINCE 1980 More... From the primordial broth to the Venetian province: this is also a possible path with the Biennale (an institution that after the dark years following 1968 has become a real queen of international level) or with Punta della Dogana (the power to enthrall with works of big dimensions exhibits in suitable spaces often by authors who belong to the margins of the Western world): Veneto is also made up of private galleries that act in synergy with the market (see Studio La Città in Verona and Michela Rizzo just to to give two examples) and by a myriad of cultural associations and men of good will acting in the streams of a microscopic and magmatic diffusion we talk about his personal story and about the art system Boris Brollo (right) with the French gallerist Patrick Bedout Exhibition at Mulini di Portogruaro: Biagio Pancino collateral event at Biennale Architettura (2016) Director of the National Gallery in Tirana (2015) He is editorial director of Juliet art magazine Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" ASSOCIAZIONE JULIET – via Battisti 19/a – 34015 Muggia (TS) Juliet art magazine è pubblicata a cura dell’Associazione Juliet - direttore responsabile Alessio Curto autorizzazione del Tribunale di Trieste registro informatico C.F./P.IVA 00699740320 | c/c postale 12103347 | SWIFT UNCRIT M10MC | IBAN IT75C0200802242000005111867 | UNICREDIT Banca Trieste By: Jean-Yves Bourgeois Use of this constitutes acceptance of our privacy policy The material on this site may not be reproduced except with the prior written permission of Rodman Media Please enable JS and disable any ad blocker with whom he established a confidential relationship he landed on landscape representations with obvious philosophical and spiritual influences his entry into the movement officially took place and Russolo began to be present at all Futurist evenings and exhibitions preferring to devote himself completely to music in which he theorized the use of noises for musical purposes based on some experiments he used to devote himself to thanks to the development of industrial society was characterized by an increasingly widespread use of machinery that punctuated daily days with their noises not to mention then the invention of the automobile explained precisely how up to that time men’s lives had been conducted “in silence or mostly in silence,” and how music veering toward polyphony and seeking increasingly complex and dissonant structures and chords Russolo invented new musical instruments that he built by his own hand to which he gave the name Intonarumori: these were machines that could reproduce sounds of various kinds (bangs rustles and so on) and modify them at will by turning a crank Russolo often organized the “noisemaker concerts,” which did not arouse much appreciation among the audience who also protested vociferously by throwing objects at the musicians He caused a sensation with the Gran concerto futurista per intonarumori in 1914 at the Teatro Dal Verme in Milan in which he put together an orchestra for 18 intonarumori encountering a rather violent reaction from the audience amid whistles replicated the concert in Genoa and London Like other exponents of Futurism, including Boccioni, Antonio Sant’Elia, and Mario Sironi Russolo in 1917 became involved in wartime turmoil and enlisted in order to participate in World War I He joined the Lombard Volunteer Cyclist Battalion and was seriously wounded at Malga Camerona on Mount Grappa He returned home for treatment and spent nearly two years in various hospitals between Naples participating in the Great National Futurist Exhibition in 1919 When Fascism began to gain an increasing foothold in Italian political life Russolo decided not to join it and was thus excluded from the Futurists he later reconnected through the intercession of Enrico Prampolini His music was used for three Futurist films in which he also appeared as a protagonist and in the same year he married an elementary school teacher named Maria Zanovallo He continued to exhibit his work throughout the 1920s and in 1930 he joined the Cercle et Carré collective Russolo befriended an Italian scholar of occult sciences in Paris and through this acquaintance he became interested in Eastern philosophies and practiced yoga three years after his friend Marinetti for whom he had delivered the eulogy Luigi Russolo’s pictorial debut at the 1909 Famiglia Artistica Milanese exhibition consisted of a series of etchings heavily influenced by Symbolism This is evidenced by the work Self-Portrait with Skulls (1909) in which the painter is portrayed with a distraught expression while surrounded by a series of skulls looking at him hinting at the artist’s awareness of human mortality and how life is full of futility Present at the exhibition was Umberto Boccioni who sensed Russolo’s talent and suggested to him a reflection on his own style and quest for modernity The later works actually reflect the cues that emerged from his frequentation with Boccioni and mostly consist of etchings with figures of his mother and sister along with landscapes of industrial suburbs Russolo’s name appeared shortly thereafter among the signatories of both the Manifesto of Futurist Painting and the Technical Manifesto of Futurist Painting drafted within a day of each other in 1910 the first theoretical and the second containing dictates on the style and technique to be followed are regarded as milestones of Futurism in painting and some of the most decisive proclamations of modernity in art the manifesto was based on the concepts of the rejection of “passatism” and the exaltation of modern novelties He also signed the manifesto Contro Venezia Passatista drafted in the same year by Marinetti participated in all the Futurist Evenings and exhibitions of the movement It was precisely in 1910 that Russolo signed one of his most famous works, Perfume The painting is the obvious result of extensive research aimed at engaging the viewer not only with sight one has the sensation of perceiving the same perfume that intoxicates the protagonist through the expedient of the wave created with filaments of color A solution that can be found precisely in the early works of Boccioni and Balla A very similar approach is found in Chioma This work derives from some engravings dating back to 1906 in which Russolo had portrayed his 15-year-old sister Tina and in the version made on canvas they permeate Symbolist elements evident in the woman’s eyes from which beams of light come while to render the waves of her hair he uses the now customary filaments of bright colors Also from the same period are Periferia-lavoro (1910) and the series of three large paintings Lampi (1910) with its smoking smokestacks and street lamps artificially illuminating the scene Revolt (1911) is another experimental painting by Russolo in which the energy released by a group of people participating in a demonstration propagates throughout the city in the form of geometric lines resembling arrows The same way of expressing the propagation and spreading of something powerful is found in The Music (1911) the sound from a piano becomes a wave that reaches a series of faces reminiscent of theatrical masks smiling but at the same time almost disturbing Also recurring in this painting are round shapes and sinuous curves A decidedly peculiar work is Ricordo di una notte (1912) in which Russolo has placed on the canvas a collage of images and situations experienced during a night as if they were dreamlike flashes that call to mind sensations and emotions that resurface little by little Russolo’s style is still very much influenced by symbolism and pointillism the first experiments with the decomposition of planes and objects and their serial repetition begin to emerge which return especially in Plastic Synthesis of the Movements of a Woman (1912-1913) the movement mentioned in the title is proposed from different angles that are all brought back onto the canvas at the same time in full alignment with the research on the same theme that Balla was devoting himself to Another work very close to Balla’s researches is Solidity of Fog (1913) in which the atmospheric phenomenon is presented as a solid body in the form of a series of concentric circles that are traversed by the artificial light of an electric lamp present above a group of people who are probably soldiers (the first one holds something that looks like a flag) One of the paintings that encapsulatesalmost all of the Futurist ideals is certainly Dynamism of an Automobile (1912-1913) Automobiles were highly extolled by Marinetti and his people as a symbol that fully embodies vital energy as well as irrationality and madness The very Futurist Manifesto read “.. A racing automobile with its hood adorned with large snake-like tubes with explosive breath...a roaring automobile which seems to run on machine gunfire is more beautiful than the Nike of Samothrace.” Russolo emphasizes the speed of the car through the use of very bright colors (red yellow) and the usual “force lines,” similar to arrows which were already present in La Rivolta and are present here as narrower on the left and wider on the right to represent the victory of the car over air resistance Also very close to Futurism and the analytical decomposition of forms is another work from 1912 Compenetration of Houses + Light + Sky in which an apparently simple urban landscape is decomposed into several planes that follow one after the other interpenetrated by two intense beams of light in addition to always being present in various national and international exhibitions he published the pamphlet Contro tutti i ritorni in pittura written in collaboration with Leonardo Dudreville in open polemic with the return to order that was appearing more and more frequently in artistic circles After an interlude in which he abandoned painting Russolo returned to painting in the 1920s with Ritratto di fanciulla (1921) in which the much previously vituperated return to order is actually embraced in a kind of “spiritual symbolism,” reflecting the philosophical studies and insights to which Russolo had approached Also of the same type is La Femme aux Bulles de Savon (1929) a work entitled Impressions of Bombardment shrapnels and grenades that still recalls Futurist-like elements such as the dynamic and broken force lines that reproduce war actions reinforced by the presence at the bottom of a group of soldiers taking cover behind a low wall The 1938 work Aurora Boreale inaugurates the last phase of Russolo’s painting characterized by full adherence to mystical and philosophical theories in which landscape scenes built on horizontal planes and permeated by a sense of calm predominate reinforced by the use of colors such as green and a few splashes of orange or yellow to represent light in which he returns to mention his great passion for music by inserting portraits of musicians within clouds above bright Russolo’s works can be found in several major museums In the artist’s hometown of Portogruaro is the painting Impressions of a bombing shrapnels and grenades (1926) there is Solidity of Fog (1912) in the prestigious Peggy Guggenheim Collection At MART - Museum of Contemporary Art of Trento and Rovereto the famous painting Perfume (1910) is preserved Self-Portrait with Skulls (1909) is kept in the Museo del Novecento in Milan In our country it is also possible to see Lightning (1910) in the GNAM - National Gallery of Modern Art in Rome it is possible to see two of Russolo’s works in Paris namely Dynamism of an Automobile (1913) at the Centre Pompidou in the Musée d’Art Moderne de la Ville de Paris more specifically at the Muse?e de Grenoble is Plastic Synthesis of the Movements of a Woman (1912-13) while in Holland is The Revolt (1911) at the Gemeentemuseum in The Hague in London in the Estorick Collection of Modern Italian Art is La musica (1911) A number of Russolo’s works are in private collections including Notturno+Scintille di rivolta (1910-11) An 18-year-old Kosovar lost his life in a serious traffic accident in Italy on Wednesday evening 18-year-old AH was in a Fiat Grande Punto that collided near Portogruaro with a Chevrolet In the car with the 18-year-old was also his father who was in the passenger seat and received injuries The driver of the Chevrolet was also injured It is learned that the Fiat car that the 18-year-old Kosovar was driving was almost split in two in the accident that happened around 20:00 PM on Wednesday The young man with his family lived in Concordia Sagittaria This site is controlled and managed by KOHA are protected by KOHA's copyright and KOHA retains the reserved rights for them Materials on this site may not be used for commercial purposes without the prior permission of KOHA is prohibited The use of materials from any website or other medium without the permission of the KOHA Group on behalf of all the units that make it up (Koha Ditore is a violation of copyright and of intellectual property according to the legal provisions in force All violators of these rights will face the law The translation of contents into other languages ​​is done automatically and there may be errors Annex of the former Radio Prishtina (first floor) George Bush pn Notices are posted by 10 am Monday through Saturday Adjust Text Size: A+ A- Prayers were held in the Chapel of Memories in Wojcik's Funeral Chapel Funeral Liturgy was Celebrated on Thursday Entombment followed in the Queen of Heaven Mausoleum in Assumption Roman Catholic Cemetery Riccardo passed away at the age of 89 years Riccardo will be lovingly remembered by his wife Rina; daughter Letizia; son Felice; daughter-in-law Brigitte; grandchildren Nigel Dusolina and Lidia; and friend Theo Joseph He was predeceased by his parents Assunta and Clemente; brothers Guido after he returned from the Second World War They were happily married for over 60 years determined to provide the best for his family so he left for Canada in 1956 in search of a brighter future His original plan was to stay for one year but he lived the rest of his amazing life with his family in Winnipeg He instilled a love for learning and a passion for adventure within his children and grandchildren Many happy times were spent having Sunday dinner with the family He was a true craftsmen working until he was 67 years old for Heymann's Masonry He loved to work with his hands and putter in his garage His family and friends benefitted from his talent and generosity Riccardo looked for the best in others and gave the best he had Always willing to strike up a conversation he enjoyed friendship with his neighbours and had a great time celebrating with his friends in the Italian community Prayers will be held in the Chapel of Memories in Wojcik's Funeral Chapel Funeral Liturgy will be Celebrated on Thursday Entombment will follow in the Queen of Heaven Mausoleum in Assumption Roman Catholic Cemetery please send a donation to the Winnipeg Foundation Education Programs for Newcomers (www.wpgfdn.org or (204) 944-9474.) Richard Wojcik Funeral Director of Wojcik's Funeral Chapel Crematorium A longer obituary notice to follow Richard Wojcik As published in Winnipeg Free Press on Feb 02 Share your memories and/or express your condolences below Unfortunately with the need to moderate tributes for inappropriate content your comments may take up to 48 hours to appear who plays his club football with Portogruaro in Italy was called up for several World Cup qualifiers last year but didn't make Verbeek's final 31-man squad who last appeared for Australia in the 3-0 win over Ireland last August is confident he can push for Socceroos selection after the World Cup especially having helped Portogruaro win promotion to Serie B last season Portogruaro claimed the Lega Pro Prima Divizione B title by one point from Pescara with Madaschi one of the key players in their successful season "It's good times," Madaschi exclusively told au.fourfourtwo.com "We have been celebrating this historic achievement and I'm pretty sure had it come a year earlier I would've had a larger claim to be in South Africa right now I feel my time is coming and I will be working hard to get back into the Socceroos set-up come the end of the World Cup "I think if I'm playing regularly in Serie B next year then that certainly can't be overlooked by the future selectors." will make their first appearance in the Italy's second tier next term Madaschi added: "We have had an absolutely fantastic season We won the league against all odds and against teams with huge history and much more financial backing like Pescara "But we won it on our own merits because of what we showed on the pitch week-in week-out so in that way it is even more significant." The Australian also revealed he'd received a personal accolade for a stellar season in defence for Portogruaro "On a personal level the season has been very important," he said "To cap it off I was voted in the Lega Pro Prima Divizione Top 11 team of the year so I'm very happy about that." who has made over 100 appearances for Portogruaro since joining the club in 2006 sees his contract expire this northern summer but is hopeful of sorting out his future soon "I am in the process of evaluating a few offers in Serie B as well as a renewal offer from Portogruaro." who had also collaborated with Achille Lauro died on the night of Thursday 17 November 2022 at the age of only 34 And Achille Lauro changes his avatar on Instagram and writes "Have you ever wondered what it will be?" Mourning in the world of rap: is dead Dium the Venetian rapper who had also collaborated with Achille Lauro the 34-year-old died at his home in Portogruaro who around midnight on Thursday 17 November 2022 she went up to her room to say goodbye the operators of 118 could not help but ascertain his deathwhich occurred due to cardiac arrest shortly after the news of the death of the Italian-Senegalese rapper Dium began to circulate on social media changing the avatar of his Instagram profile and writing a message of condolence is a simple black background (signifying mourning) “Have you ever wondered what it will be like?” Lauro was not the only one to pay him homage: in the last few hours condolence messages from other rappers have arrived coordinated by the Pordenone prosecutor's office the Public Prosecutor's Office has not left further statements but in the next few hours it could decide to order an autopsy on the rapper's body to ascertain the true causes of death Achille Lauro in concert at the Flegrea Arena in Naples: the Noisy Naples Fest is back Valerio Scanu comes out asking his partner to marry him: the video Coolio, the Gangsta's Paradise rapper was 59 years old we earn a commission from qualifying purchases through ticketing links This commission does not entail any additional price for the user.