The presentation of the monograph Mattia Bortoloni director of the Musei Civici Trevigiani and expert oneighteenth-century Veneto art The initiative is part of the program of the exhibition Cristina Roccati underway in the same exhibition spaces.On the occasion of the presentation L’elemosina di San Tommaso da Villanova a painting by Mattia Bortoloni (San Bellino 1750) belonging to the Pinacoteca dell’Accademia dei Concordi The evening will be held under the patronage of the Accademia dei Concordi and will be attended Alessia Vedova and the President of the Accademia dei Concordi Admission will be free while places are available Fabrizio Malachin’s volume represents the result of a twenty-five-year research work during which the director of the Civic Museums of Treviso collected and systematized the entire known production of Mattia Bortoloni thus producing the first complete monograph dedicated to the Polesine artist It is a work that stands as a milestone in studies of eighteenth-century art for several reasons The volume offers for the first time a comprehensive view of Bortoloni’s pictorial production It also includes scholarly entries dedicated to each certain work including both pictorial cycles and individual works The certain works are flanked by 15 cards for works lost or of unknown location and 20 cards for those of doubtful or rejected attribution the monograph collects for the first time Bortoloni’s entire graphic production consisting of 24 drawings considered authentic and 18 rejected drawings The work is complemented by a series of apparatuses that include historical documents an updated bibliography and a series of analytical indexes related to names which facilitate the consultation of the volume opens with an introduction by Professor Giuseppe Pavanello the figure of Mattia Bortoloni is reconstructed in depth highlighting the versatility of the artist who distinguished himself as the author of sumptuous cycles of frescoes The publishing project was born as a natural development of the studies that emerged already in 2010 on the occasion of the exhibition dedicated to Bortoloni in Rovigo The documents and apparatus collected by Malachin make it possible to trace the artist’s activity with greater precision updating his chronology and deepening our knowledge of his style and patrons “The 18th century,” says Alessia Vedova head of the artistic heritage and exhibition event office of the Fondazione Cassa di Risparmio di Padova e Rovigo curator of the major exhibition on Bortoloni staged in Palazzo Roverella in 2010 “is the golden century of the arts in Rovigo: it is the century of the rebirth of the Accademia (famous are the portraits of Tiepolo and if Cristina Roccati expresses the level of attention to the sciences in Rovigo in the eighteenth century Mattia Bortoloni represents the best of this land in the artistic field.” politically incorrect,” says Malachin “Bortoloni is an artist still little known to the general public capable of obtaining commissions of great prestige and producing record-breaking works His is the largest decoration in the world with a unified theme in the majestic Mondovì dome but his masterpieces can be found in numerous villas and palaces churches and collections from the Veneto to papal Emilia from Austrian Lombardy to Savoyard Piedmont One could even imagine that Venice tried to enjoy his activity offered to the most politically influential families as the work of an ambassador-a cultural ambassador living an enormous paradox in the 18th century: recognized for its beauty the splendor of its architecture and villas the undisputed fame of its men of culture (some of whom but torn by the delays and anxieties of a state incapable of reforming itself in the service of powerful people also linked to Freemasonry as is evident by examining some of the fresco cycles could well play the role of cultural ambassador of the Serenissima an artist different in nature and sensibility an entirely autonomous and original genius pleasant and surprising frescante of the 18th century a pictorial international with a common parlance.” she coordinates coverage for North American events and global news As former elite-level road racer who dabbled in cyclo-cross and track Laura has a passion for all three disciplines When not working she likes to go camping and explore lesser traveled roads UCI governance and performing data analysis you will then be prompted to enter your display name land of agri-food excellence with a European sealDouble stop in the province of Rovigo of the lucky virtual “journey” of Veneto Agriculture among the regional agri-food excellences In the spotlight the delicious Cozza di Scardovari and the two thousand-year-old Aglio Bianco Polesano two DOPs of the extraordinary European basket is the country of the European Union to register the largest number of products recognized by the DOP / IGP / TSG marks dominates this prestigious ranking at the national level For our region an important contribution comes from the province of Rovigo present in this tasty basket with five products: Rice Delta del Po PGI Radicchio di Chioggia PGI (interprovincial production) Cozza di Scardovari DOP and the White Garlic of Polesano DOP It is on these last two products that this week’s insights of VenetoAgricolturaChannel the successful serial series distributed via Social by the regional agency whose production is concentrated in a limited period of the year (from the end of April to the beginning of June) is produced exclusively in the Municipality of Porto Tolle (Ro) precisely in the area around the Sacca di Scardovari In the focus of Veneto Agriculture (available on the YouTube channel: https://cutt.ly/LcVMvV7) the president of the Consorzio di Tutela recalls that the first cooperative for the processing of mussels was born here even in 1936 “From then – underlines Mancin – a long way has been made: recognition of the Protected Designation of Origin by the European Union in 2013; marketing of the product throughout Italy and also abroad; recognition of the very high quality of this sweet and tender mussel by the greatest international chefs “ a delicacy of our Venetian table that has been able to establish itself well beyond regional borders and overcome this difficult moment due to the prolonged closure of restaurants due to the Coronavirus pandemic The other finished product this week in the spotlight of VenetoAgricolturaChannel is the White Garlic of Polesano PDO (https://cutt.ly/3cV3muT) “A product – says Massimo Tovo president of the Protection Consortium – that has established itself thanks to the ability of local producers to hand down the ecotype of the precious seed from generation to generation capable of giving life to a completely different type of garlic with an intense and constant aroma that tastes fresh and which is preserved for a long time in a natural way “ A product that today is grown on 150 hectares of land distributed in 29 municipalities in the province of Rovigo The episodes made so far of the “journey” in 39 stages of Veneto Agriculture among the Veneto agri-food denominations are available on the YouTube channel of the regional agency Marcadoc – The hills of Venice deals with tourist cultural and food and wine information of the Marca Trevigiana and the Veneto Rovigo have signed Eliseo Fourcade. The Italian Serie A side has recruited the Argentine second-rower joins from Super Rugby Americas. Fourcade was a part of the Pampas team that were beaten finalists in Super Rugby Americas 2024 He also previously played for rivals Los Dogos Fourcade has representative honors; he played for the Argentina XV against Chile in 2023 He makes the move to Italy at the age of 23 A second Argentine second-rower also plays for the club. Alfonso Zottola joined Rovigo from Italian rivals Viadana He comes from Rio Cuarto a does flanker Lautaro Casado Sandri Other Argentines at Rovigo include centers Rafael Andrés Lertora and Facundo Ferrario from San Juan and Rosario Tags Argentine Marcos Moneta won the award for scoring the best Rugby SVNS try during the … World Rugby has today confirmed that Italy will host the World Rugby U20 Championship 2025 from 29 June-19 July with matches held in four cities across the Lombardia and Veneto regions It will be the third time that Italy has hosted the prestigious tournament featuring the 12 best U20 teams in the world but the first for a decade with a New Zealand side featuring current All Black Anton Lienert-Brown having beaten England in the 2015 title decider in Cremona the same two sides had also met in the final in Padova with a New Zealand outfit containing future Rugby World Cup winners Beauden Barrett TJ Perenara and Codie Taylor emerging victorious The pools have been confirmed for the 15th edition of the prestigious age-grade tournament with the four host cities of Calvisano Verona and Viadana hosting matches across the three rounds of pool matches on 29 June The knockout stages begin on 14 July with finals day taking place on 19 July to determine the final placings of the 12 teams with the Stadio Maria Battaglini in Rovigo to host the 2025 title decider Kick-off times are still to be finalised and the full match schedule will be confirmed in due course having beaten three-time winners France 21-13 in the 2024 final in Cape Town while Scotland will return to the U20 Championship for the first time since 2019 after winning last year’s World Rugby U20 Trophy on home soil More than 1,000 players have graduated from an U20 Championship to play test rugby since the tournament was first held in 2008 including 32 Rugby World Cup winners and the last five World Rugby Men’s 15s Players of the Year Current Italy captain Michele Lamaro is one of more than 70 U20 Championship graduates capped by the Azzurri with Federico Ruzza Tommaso Allan and Ange Capuozzo other high-profile players to have followed this pathway to the test stage who captained the Azzurrini to eighth place in 2018 said: “The World Rugby U20 Championship is one of the first most defining moments a young player can face at international level You’re away from home for a long time and you can develop yourself both as a player and as a human being playing alongside your best peers in the world and creating life-lasting bonds “I lived the World Rugby U20 Championship with many team-mates with whom I’m currently playing on the test arena and we all have such pleasant memories of the competition I encourage all the players that will showcase their talents in the Championship to fully embrace the moment as it will be a crucial milestone both in their career and their lives.” World Rugby Chair Brett Robinson said: “The World Rugby U20 Championship represents the pinnacle of age-grade rugby showcasing the next generation of international stars before they reach the highest level We are delighted to bring back this thrilling competition to Italy a nation with a deep passion for the sport and a proven track record of hosting world-class events This 15th edition will not only provide an incredible platform for young talent to shine but will also capture the imagination of fans and we look forward to working with our friends at Federazione Italiana Rugby to leave a lasting legacy for the sport in Italy.” Federazione Italiana Rugby (FIR) Vice-President and Organising Committee Chairman said: “The World Rugby U20 Championship comes back to Italy 10 years after a very successful edition which culminated in a thrilling final in a packed Cremona stadium between England and New Zealand “The U20 Championship is the ultimate platform for the future stars of international rugby and hosting the very best prospects of the game will not only bring some spectacular action to our passionate fans in northern Italy but will also grant a solid legacy to our grassroots clubs who can’t wait to host the teams at their training facilities establish relations and make memories that will last forever Viadana and Rovigo have already successfully hosted the World Rugby U20 Championship back in 2011 and 2015 and they will be formidable venues for the teams a newcomer set for its debut as an international venue with its brand-new Payanini Center volunteers and our youngsters will never forget.” said: “The return of the World Rugby U20 Championship to our country is a wonderful news for our game as well as a great opportunity for our local clubs to reinforce and amplify the bond with their territories through a global event Together with them and with the support of the Ministry of Sport the Lombardia region and the Veneto region we will guarantee a fascinating platform for promoting both our sport and the local Italian excellence.” WORLD RUGBY U20 CHAMPIONSHIP 202529 June-19 July | Stadio San Michele (Calvisano) 29 June (Calvisano and Verona)Match day 2: Friday 4 July (Rovigo and Viadana)Match day 3: Wednesday 14 July (Verona and Viadana)Match day 5 (final and ranking matches): Saturday For more information, visit www.world.rugby/tournaments/u20/championship/2025 New Zealand women and South Africa men were crowned HSBC SVNS 2025 champions after securing stirring victories at the HSBC SVNS World Championship in Los Angeles The stars of international rugby sevens were honoured during the thrilling finale of HSBC SVNS 2025 in Los Angeles The battle to become HSBC SVNS 2025 champions began in exciting fashion on day one of the World Championship in Los Angeles Amazon expects to create 900 new full-time jobs within three years of opening The Rovigo facility is the third hub in Italy equipped with the latest technology by Amazon Robotics September 21 marks opening day for Amazon’s latest fulfillment center this one located in Castelguglielmo - San Bellino The warehouse facility is the fifth such center opened by Amazon in Italy The Castelguglielmo - San Bellino site joins the group which includes Castel San Giovanni (Piacenza) and Piedmont’s Vercelli and Torrazza Piemonte (Turin) sites Amazon expects to create 900 new full-time jobs within three years at this latest facility This newest opening allows Amazon to expand its logistics network to take on the ever-increasing demand by customers across the peninsula The opening allows them to expand their product offering while providing additional support for small and medium-sized enterprises who sell their merchandise across the Amazon.it platform and who use the “Logistics by Amazon” service; a program that provides sales and delivery services to third party vendors “Ten years after Amazon’s arrival in Italy we’re thrilled to begin this new venture at our latest fulfillment center in Castelguglielmo - San Bellino It will soon become an integral part of our Italian logistics network we can count on one of the most advanced warehouses around to help us continue to bring the best possible services to our customers,” remarked Stefano Perego Vice President of Amazon Operations for Europe “We’ll continue working closely with local authorities while we carry on providing top services to customers we’ll continue protecting the health and safety of workers as we have since the onset of the health crisis that we have all faced over the last few months and that is still ongoing The new Rovigo site marks the third such fulfillment center for Amazon Italia to be outfitted with the most advanced technology in the field The warehouse uses the most innovative technology available to assist workers in carrying out their duties The new tech makes it easier and more efficient for staff due to reduced time spent moving around the facility This is due to intelligent shelving units that move automatically to an ergonomically designed area where staff can process orders the distribution hub is a fully sustainable structure integrating energy efficiency and thereby reducing its environmental footprint Sustainable principles were applied throughout the construction of the site bringing to light avant-garde solutions such as photovoltaic lighting systems for a total of over 2MW led lighting and a cooling and heating system that recoups energy while providing hot water without using methane gas and siding and other materials that provide additional insulation an intelligent system for building maintenance and was conceived entirely with the goal of receiving BREEAM certification from the Building Research Establishment Environmental Assessment Method To preserve balance and biodiversity of the surrounding area green areas and groves of local species have been planned to fit seamlessly into the area “The launch of this much awaited Amazon facility was a note of good news for the entire Polesana area We’re certain that this latest opening will bring additional social-economic benefits along with a touch of optimism for all the surrounding communities Keep in mind that from the very onset of planning we have been very careful to safeguard the environmental impact seeing to it that works to mitigate waste have already been partially implemented.” engage and bring our utmost to integrate the complex Amazon reality into our area of the Polesine and was a sort of ‘on-the-job training’ for me personally; but one that allowed me to enhance my own skills and sharpen my tenacity Nine hundred full-time jobs over the next three years is quite a big deal for our Rovigo province People who can count on a stable work environment are able to make long term decisions for their families and I think this will also help mitigate emigration away from this area Amazon is an important piece that interconnects with work already found in the area in a marvelous jigsaw puzzle: the Polesine area Amazon’s arrival extends to other types of jobs as well catalyzing a win-win in terms of social-economic and cultural terms,” remarked Aldo D’Achille “Being able to make deliveries in the time frame as promised by this advanced warehouse is the direct result of the excellent teamwork by Amazon local Authorities – in particular the Towns involved - the General Contractor all working in concert during an exceptionally trying time due to COVID-19 This is the third project that Amazon and P3 have worked on together further affirming our partnership not just in Italy We’re very proud of the positive impact that this project will have on the entire local community of Rovigo.” Jean-Luc Saporito Chief Development Officer and Managing Director Italy of P3 Logistic Parks remarked the new facility joins two other Amazon sorting centers – in Vigonza (Padova) and in Verona It will be an important factor in the economic and job growth across the area for Castelguglielmo Amazon salaries are some of the highest in the logistics sector and include a number of benefits such as discounts off items purchased on Amazon.it and private medical insurance Amazon also offers innovative opportunities to its staff such as the Career Choice program that covers up to 95% of tuition and materials costs for staff to gain training or personal development Amazon has invested over 5.8 billion euro in since its arrival in Italy in 2010 creating over 6,900 full-time jobs that will see another 1,600 by year’s end This brings its total number of employees to 8,500 across its 25 sites throughout Italy the Company has opened two new top-of-the-line fulfillment centers: in Castelguglielmo/San Bellino (Rovigo) and in Colleferro (Rome) while the two years prior saw Amazon opening various distribution hubs and sorting centers across the peninsula Two additional urban distribution hubs were opened in Milano and Rome to serve Amazon Prime Now customers On top of these investments in its Italian logistics network Amazon opened its Customer Service center in Cagliari alongside its Milanese corporate headquarters as well Amazon moved to its new corporate offices (17,500 square meters) in the emerging business district of Porta Nuova The Company also opened a Development Center for research on speech recognition and natural language understanding to support the Alexa voice recognition technology Above and beyond full-time employment opportunities that Amazon continues to bring with it the Company also provides support to entrepreneurs and business people looking to open an online store either by taking an existing business online or those desiring to expand their business The Company offers various options available on its platform: from Marketplace for direct sales to customers to utilizing the Amazon Logistics network for stocking and delivery of items through its FBA program (Fulfillment by Amazon) Italian companies selling merchandise through the Amazon.it portal have generated over 18,000 jobs Amazon is guided by four main principles: Obsession with customer satisfaction over the competition Amazon Echo and Alexa are just some of the innovative products and services introduced to the world by Amazon In what different places and in how many different ways can silence be depicted in a painting silences are not all the same: there is the silence of domestic quiet the silence of anticipation of a joyful event and the silence of waiting that heralds something dramatic there is the silence of melancholy and loneliness There is silence in an interior and silence in a landscape Silences that are felt and perceived within a painting in quite different ways through the presence or absence of a human figure through expressions or through colors.Peculiar and perhaps unique is the way of painting silence and emptiness of a Danish painter active between the nineteenth and twentieth centuries who in his lifetime was one of the greatest great Danish painters of his time famous not only in Northern Europe but also in many European countries roughly from shortly after his death until the 1980s both on the market and in terms of exhibitions In recent years there have been exhibitions in Barcelona The last important presences in Italy date back to the Venice Biennales of 1903 and 1932 and to the Rome International Exhibition of 1911; it is therefore due to the sensitivity of curator Paolo Bolpagni that he has now brought back to Italy a selection of this painter’s Nordic atmospheres on display in Rovigo A total of fourteen out of eighty-four of the entire exhibition are Hammershøi’s works featured in Hammershøi and the Painters of Silence between Northern Europe and Italy this is the title of the current exhibition in Rovigo and just being able to admire them brought together in a single location is worth the visit considering also that in Italy there is preserved only one work by the artist a 1913 self-portrait donated in 1920 to the Uffizi Galleries by his wife Ida (which unfortunately was not brought to the exhibition) and that to see those on display here one would normally have to travel to Hamburg the writer would have preferred to be able to see an even wider selection of Hammershøi’s paintings Strandgade 30 from the Städel Museum in Frankfurt am Main Grains of Dust Dancing in the Sunbeams from the Ordrupgaard in Charlottenlund and some portraits such as Portrait of a Young Woman and Interior with Young Man Reading (Svend Hammershøi) both housed at the Hirschsprung Samling in Copenhagen shrinking perhaps the last section devoted to silent landscapes made during the years Hammershøi lived one has the pleasure of admiring his first figure-free Interiør of 1888 entitled The White Door (Interior with Old Stove) in which an open white door forms the transition from a dimly lit room with a stove to a light-filled corridor overlooked by another white door in this case closed; a transition therefore from shadow to light Also on display is the famous Hvile (Rest) of 1905 which has been in the Musée d’Orsay ’s collections since 1996: the painting which depicts his wife with her back turned sitting on a chair and her blouse blending in with the color of the wall toward which the woman is facing in contrast to the white of the flower-shaped receptacle in the center of the cabinet that stands next to the portrayed subject was among thirteen canvases from the collection of Alfred Bramsen a collector and devoted supporter of the artist with whom Hammershøi participated remotely in the1911 International Exhibition in Rome He was among the ten winners of the first prize and was awarded ten thousand liras there is an opportunity to admire Hammershøi’s only painting of an Italian subject which is a view of the interior of the basilica of Santo Stefano Rotondo in Rome a church of early Christian origin on the Caelian Hill characterized by a central plan with architraved Ionic columns supporting the tiburium Hammershøi and his wife Ida left for Rome in October 1902.It is known that the artist was primarily attracted to ancient architecture He was struck by Santo Stefano Rotondo and after obtaining permission to work inside the basilica and after studying the framing in a pencil drawing now preserved at the Pierpont Morgan Library deciding to abandon the frontal view for a side viewpoint The exhibition kicks off with a section devoted to Hammershøi’s education : the Charcoal Study of Male Nude Seen from Behind that opens the section and the exhibition is probably the result of lessons at the Independent Study School for Artists that the young Hammershøi began attending after the long-establishedRoyal DanishAcademy of Fine Arts how his approach to drawing actually dates back to the tender age age of eight and how his early education in art was financed especially by his mother Frederikke who had him taught drawing and painting lessons by some of the big names in the Danish art scene of the time cousin of the famous philosopher and pupil of Christoffer Wilhelm Eckersberg who as an important exponent of Neoclassicism had left in his heirs a particular predilection for the study of the nude but with the use of real Vilhelm came from an upper middle-class and cultured family so he was fortunate enough to cultivate and indulge his artistic endowment without any kind of financial problems both privately and at important institutions And while at the Royal Academy he received a more traditional approach at the Independent Study School he also had the opportunity to engage with an art that looked outside Denmark especially to France and Paris: His teachers included Peder Severin Krøyer among the leading exponents of the Skagen School a kind of Scandinavian declension of French Impressionism but without the fragmentation of color into small brushstrokes; among the elements dear to Krøyer was precisely the motif of the ray of light coming in through the window and passing through the composition as found in many of Hammershøi’s works Returning to the Study of a Nude Seen from Behind the drawing reveals Vilhelm’s ability to depict a youthful body realistically but at the same time retaining the fragility of youth; it is also noteworthy how the theme of the subject being portrayed from behind appears early on which will be found often in his production especially those devoted to interiors with people where the person is almost always his wife Ida Another important influence Hammershøi had in his training thanks to a trip at the age of twenty-three to the Netherlands and Belgium was his direct acquaintance with and study of Dutch and Flemish seventeenth-century painters and the nineteenth-century Hague School characterized by genre painting with an intimist approach and domestic subjects and playing musical instruments (figures also dear to Hammershøi’s heart) all of whom share a common theme of depicting interiors with people intent on their activities who also became a painter but unlike his brother also a ceramist: what is noticeable almost a monochrome with brown and gray tones We continue with domestic interiors without human presences depicted by Hammershøi including the aforementioned first of his Interiør in which the dim brightness of the Northern European sun shyly filters through a window into the interior of the room but without making that window visible (only its shape reflected on the wall can be seen) The interiors depicted in Sunlight in the Drawing Room III and as in most of his interior scenes that would also appear in his production with figures are those of the apartment at street number 30 on Strandgade one of the main streets in the Christianshavn district of Copenhagen where Vilhelm and Ida lived from 1898 to 1909 These are works in which the lines of the bare walls a sofa and lonely chairs leaning against the walls the glimpses of bias creating geometries between a bookcase “the small bourgeois world of Hammershøi which lingers on fragments of the ordinary in a philosophical ’eulogy of absence,’ has chosen to ’cultivate its own garden,’ finding there everything it needs,” denoting at the same time careful attention to what the artist himself called ’the architectural character of the picture In an interview with the Danish magazine Hver 8 ’What makes me choose a subject is often its lines But it is the lines that I love most.’ Hammershøi’s three interiors are compared here with the two interiors depicted by the Frenchman Charles-Marie Dulac (Paris 1865 - 1898) and the Belgian Georges Le Brun (Verviers while focusing on essential elements of furniture there is an entirely different light in one case and a meticulous rendering of details in the other that the Danish painter’s interior scenes are compared through two videos on floor structures to scenes from Carl Theodor Dreyer’s film Gertrud (1964) as parallels were noted between the framing compositional patterns and suspended atmospheres of the paintings and the film One wondered at first how many different ways silence can be depicted in a painting inevitably linked to the one just described and it is also among the stated objectives of the exhibition “to identify through comparisons between his paintings and those of other artists of his contemporaries and the next generation a poetics that places the theme of silence at the center.” As already mentioned Hammershøi’s is a poetics of emptiness and light and where the light is never a symptom of a calm and terse atmosphere is a symptom of an uneasy atmosphere emanating from an apparent calm his 1907 Interior with Couch is placed on this occasion in comparison with those painters who in Denmark but also in Italy and the Franco-Belgian area were inspired by him: there follows theInterior with a comfortable atmosphere and warm light by Carl Holsøe (Aarhus his friend and fellow Academy student; the flamboyant work of Henri-Eugène Le Sidaner (Port Louis the Italian closest to Hammershøi’s compositions because of the presence of doors and windows that are often white but illuminated by a warm light that expresses tranquil domesticity the melancholy and resigned interior of Orazio Amato (Anticoli Corrado 1952) and the evocative convent of Sant’Anna in Orvieto by Umberto Prencipe (Naples the eerie interior of Xavier Mellery (Laken 1921) and the oppressive interior of a mill by Charles Mertens (Antwerp with artists all coeval with him: Hammershøi’s two paintings which see in one case a woman reading and in the other a woman sweeping the floor (here there is a clear reference to Dutch and Flemish art but with a whole different atmosphere as there is no the sense of expectation and suspension for possible secret anguish as in those of the Dane) are compared with Carl Holsøe’s Solitude and Woman with Fruit Bowl with Waiting for Guests by his friend and brother-in-law Peter Vilhelm Ilsted (Sakskøbing Ojetti at the Piano by Oscar Ghiglia (Livorno 1945) in which we note the shadows on the dress and bookcase and the reflections on the polished surface of the piano the nocturnal and eerie atmosphere of the engraving Light and Shadows by Swedish Symbolist Tyra Kleen (Stockholm 1874 - 1951) compared with a nocturnal interior by Hammershøi and the mysterious Man Passing by Georges Le Brun From interiors to portraits: Hammershøi was opposed to portraying commissioned subjects as he thought that a portrait presupposed close knowledge of the person to be portrayed so his portraits were limited to his mother Here his wife Ida Ilsted is portrayed in no fewer than three paintings namely the frontal portrait of the then still engaged woman characterized by the young woman’s absent dreamy gaze and a jacket whose color blends into the background(Rainer Maria Rilke was so impressed by this work exhibited in 1904 in Düsseldorf that he decided to go to Copenhagen to meet the artist) the aforementioned Hvile (Rest) flanked by Oscar Ghiglia’s portrait of his wife from behind as she plays the piano and the Double portrait of the artist and his wife seen through a mirror exemplifying the theme of incommunicability Added to these is only the portrait of Henry Bramsen It would have been nice to have been able to admire in this section the portrait of his sister Anna and Interior with young man reading (Svend Hammershøi) but we instead move forward from now on into the silence of the landscape beginning with Hammershøi’s aforementioned only painting of an Italian subject and continuing with the depiction of the city His last work in the exhibition is in fact the depiction of Christiansborg Palace one of Copenhagen’s most famous buildings without any human presence and with a dominant light tending to gray “the discourse broadens to deserted urban views ’landscapes of the soul,’ and ’dead cities,’ which had such good fortune in France Belgium and Italy during the years Hammershøi lived there: a further declination of the elusive and enigmatic subtly anguished feeling that we find in his production.” The choice was thus to broaden the concept of silence in the opinion of the writer sometimes even forcing its boundaries a little to include works that reflect more on the themes of emptiness and silence rather than on the particular vision of Hammershøi the painter to whom the exhibition is dedicated There is the Bruges of Fernand Knopff and Henri-Eugène Le Sidaner the evening visions of Émile-René Ménard the rooftops of Paris by Charles Lacoste or the Jardin du Luxembourg by Eugène Grasset William Degouve de Nuncques’ nocturnal Venice and a series of urban and maritime views of The Hague and Antwerp by Vittore Grubicy de Dragon under the sign of Gabriele d’Annunzio’s Cities of Silence Concluding with the last section devoted to Silent Landscapes and other “artists of silence” who between the late 19th century and the early 1920s produced works “permeated by a melancholic and absorbed stillness.” Thus parading one after the other are Alphonse Osbert with his female figures immersed in the landscape Charles-Marie Dulac with his mystical gleams Giuseppe Ugonia with his Arcadian lithographs Mario Reviglione with his crepuscular atmospheres Umberto Moggioli with his meditations in solitary places Giulio Aristide Sartorio with his architecture immersed in the green the desolate countryside of Onorato Carlandi and Napoleone Parisani and the views of Enrico Coleman and Pio Bottoni In the face of all this roundup of artists the visitor’s gaze is perhaps at times diverted from what should be the main protagonist of the exhibition the first major presence in Italy in the modern era of a nucleus of works by the Danish artist gathered together which faithfully traces the exhibition with all the works present (however and devotes essays to the various aspects of Hammershøi’s poetics the relationship with Italy and the fortunes of his art partial excavation of a Roman villa in Negrar di Valpolicella near Verona revealed several rooms containing brightly colored wall paintings and mosaic floors the rooms were reburied and their precise location was eventually forgotten archaeologists led by Gianni de Zuccato of the Superintendency of Fine Arts and Landscape of Verona and Vicenza have rediscovered the geometric-patterned mosaics in a vineyard The mosaics’ similarity to others found in the region has prompted scholars to date them to anywhere from the mid-third to the fifth century A.D de Zuccato and his team have found clear evidence that parts of the villa were occupied even after the end of the Roman Empire “We found a fireplace made of a pair of large recycled tiles that destroyed the mosaic below,” de Zuccato says “These later inhabitants even buried their dead inside the villa.” The race will start in Naples with an individual time trial and finish in Milan The Veneto region will play a key role in the final part of the race with four stages that will pass through some of the most picturesque and challenging locations in the region These stages will take place between May 23rd and May 27th offering technical challenges and breathtaking scenery crossing the province of Padua and passing through Monselice The finale will feature a circuit with two climbs of the Monte Berico offering thrilling moments for both fans and riders crossing the Veneto plains and the lower Friuli region passing through the Collio and Friuli Venezia Giulia crossing the border and offering a spectacular sprint finish the 15th stage will depart from Fiume Veneto and conclude in Asiago including Monte Grappa and the GPM of Dori providing a significant test for the riders the final Venetian stage will depart from Piazzola sul Brenta passing through the Fricca Pass and climbs like Candriai and Monte Velo with a total elevation gain of nearly 5,000 meters will be one of the toughest of the entire Giro Veneto will continue to be a key player in the 2025 Giro d’Italia offering technical challenges and breathtaking views that will enrich the experience of the Corsa Rosa The 28th edition of the Corsa Internazionale Oderzo QUINTESSENZA.Prosecco Doc Extra Dry Millesimato The festive atmosphere In the second and final national test of the "Grand Prix Kinder Joy of Moving" disputed at Rovigo the under 14 foil fencers of the Raggetti Fencing Club they achieved important successes confirming the good things they had already highlighted in the previous races of the season. In the masculine Black Catarzi (2012), defeated by the Florentine Gherardo Panichi, missed out on access to the Ragazzi final and finished third while Gianmarco Curci he came eighth, eliminated in the access round to the semi-final by Catarzi. Overall, the performances of Federico Marchitelli, Peter Tona e Jacob Hlebowicz. The group of young red and white fencers was accompanied by the masters Catherine Pappalardo e Jaffar Al Chechany, of Jordanian origin, at Raggetti this year coming from the Circolo Di Ciolo of Pisa. Rovigo was the last important commitment for the under 14s before the "Renzo Nostini" Youth Grand Prix scheduled in Riccione from April 30th to May 7th for all weapons and categories: this is an event in which Raggetti will take part with all its best elements. “Il biometano fatto bene esiste?” è la domanda a cui intende rispondere il convegno che porta lo stesso titolo promosso dalla Rete dei comitati polesani a difesa della salute e dell’ambiente per sabato 8 febbraio all’Hotel Cristallo di Rovigo (viale Porta Adige 1) Durante il convegno sarà presentato un manifesto rivolto a sindaci la cui premessa è che il coordinamento dei comitati «valuta accettabile la creazione di impianti di piccole dimensioni alimentati da matrici agricole e zootecniche (non industriali o FORSU frazione organica del rifiuto solido urbano) che non producano né biometano né digestato e che si muovono entro l’impostazione dell’economia circolare per cui si ricicla la materia e si utilizzano fonti realmente rinnovabili» Il Pnrr prevede sostanziosi finanziamenti per realizzare impianti di produzione di biometano in Veneto: 27 milioni di euro solo per i quattro di dimensioni maggiori a Costa di Rovigo, Caorle, Noventa Vicentina e Gazzo Veronese, come abbiamo documentato qui Secondo la Rete dei comitati polesani «Non esiste una reale programmazione e l’iter autorizzativo segue strade poco trasparenti e di difficile accesso ai comuni cittadini e pure alle associazioni ambientaliste Spesso si arriva all’autorizzazione a fari spenti senza informazioni pubbliche» All’Hotel Cristallo dunque si parlerà «di impatto ambientale e sanitario del suo aspetto finanziario e industriale e dell’aspetto democratico negato nei processi autorizzativi» spiegano dalla Rete con tra gli altri gli interventi del biologo Gianni Tamino della coordinatrice di Terre Nostre nazionale Maria Grazia Bonfante con l’agronomo Andrea Bregoli e il medico Adele Pazzi La prima sessione avrà inizio alle 9.30 con Fabio Bellettato Alle 9.45 Vanni Destro della Rete dei comitati polesani presenterà i relatori Alle 10 interviene Gianni Tamino sul tema degli impatti ambientali seguito alle 10.15 da Maria Grazia Bonfante Alle 10.30 Andrea Bregoli affronta il tema dei rapporti con l’agricoltura e alle 10.45 Adele Pazzi quello degli effetti sanitari si riprende alle 11.15 con la seconda sessione inaugurata da Chiara Ficarelli che presenterà una mappa degli impianti e dei progetti di insediamento di biometano nel Polesine Alle 11.30 Gianni Bregolin parlerà dei rapporti con il territorio e le sue amministrazioni locali alle 11.45 Lucia Pozzato introdurrà il tema dei rapporti con il territorio e i comitati polesani e di altre province e regioni con testimonianze di coordinatori dei comitati presenti Alle 12 Gianni Bregolin presenterà il Manifesto a seguire spazio alle domande del pubblico e alle conclusioni VeZ è un giornale indipendente, puoi sostenerlo effettuando una donazione. VeZ – Veneto ecologia Z Generation è una testata giornalistica: registrazione al Tribunale di Padova n Editore: Laboratorio dell’inchiesta economica e sociale Aps ContattiRedazione: redazione@vez.newsPubblicità e partnership: adv@vez.newsAssociazione Lies: laboratorio.inchiesta@gmail.com Rilasciato sotto licenza Creative Commons BY SA salvo ove diversamente specificato – Webdesign: Fabiodalez Aiuta l’informazione giovane e indipendente a crescere oppure effettua la donazione tramite Bonifico Bancario 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 Palazzo Roverella in Rovigo will host an unprecedented exhibition in Italy dedicated to Vilhelm Hammershøi (Copenhagen the leading exponent of 19th-century Danish painting and one of the most highly regarded artists in late 19th- and early 20th-century Europe Promoted by the Fondazione Cassa di Risparmio di Padova e Rovigo and curated by Paolo Bolpagni Hammershøi and the Painters of Silence between Northern Europe and Italy represents the first Italian exhibition dedicated to him and also the only one on an international scale The initiative comes at a time of great rediscovery of the Danish painter whose fame has grown dramatically in recent years: works once almost forgotten have now reached record-high quotations while prestigious museums around the world vie to exhibit his work.The exhibition in Rovigo aims to explore the particular charm and subtle restlessness that pervade Hammershøi’s work The Danish artist is known for his paintings of domestic environments but which actually portend or suspect secret dramas or the anticipation of impending tragedies His “landscapes of the soul” and deserted city views represent a poetics of silence and solitude in which the rarefied atmosphere seems to reflect an inner state suspended between serenity and anguish In addition to presenting Hammershøi’s masterpieces the exhibition at Palazzo Roverella will compare them with the works of artists contemporary to Hammershøi from Scandinavia highlighting a sensibility common to Hammershøi’s and shared by other artists: an attraction to silence The artist’s life is itself a source of reflection and suggestion Although he traveled to several European countries Hammershøi always remained a solitary figure with whom he maintained an almost symbiotic bond and to whom he returned close even after his marriage which further accentuates the enigmatic side of the artist’s life and work which would later influence the famous filmmaker Carl Theodor Dreyer was described by some as “neurasthenic,” in that it was capable of evoking a psychological restlessness that transcends the mere subjects depicted The exhibition thus promises to be a unique opportunity for Italian audiences to delve into the production and complex personality of Vilhelm Hammershøi an artist capable of exploring the human soul through images of delicate emotional power For info: www.palazzoroverella.com Many important names at the Deltablues 2021 International Festival thanks to the important financial support of the Fondazione della Cassa di Risparmio di Padova and Rovigo and the partner Municipal Administrations of Rovigo has in fact managed to set up a program of evenings which in addition to having as protagonists important names of national and world blues will feature many new emerging artists with concerts that will be held in suggestive locations throughout the Polesine With the aim of bringing new audiences closer to quality music there is a 20% reduction on the price of tickets for children under 18 Buzzolla of Adria Conservatories and the UniverCity Card holders of the University of Rovigo Consortium as well as for the partners of the Rovigo Jazz Club and Slow Food Rovigo partners and COOP Alleanza 3.0 “Culture – said Tovo – is the best way to be together cultural events represent sociality and promotion of the quality of well-being for all We are therefore very happy to present this Festival today which represents a cornerstone of the events in our territory ” Piazza Cavour in Adria will be at the center of two evenings with two bands per evening with great Italian and international artists as protagonists: on 3 July the Savana Funk a young but already established Emilian group will open the evening that will be concluded by Sekou Kora Trio led by Sékou Kouyaté authentic virtuoso of the “kora” in a mix that brings together sounds rooted in West African traditions after the opening concert of the young and promising Bassopolesan band Romea the two-day adriese will end with Davide Shorty & Straniero Band a young but already successful artist returning from success in San Remo where he finished second in the “new proposals” section On both evenings the tickets will be 5.00 euros The entertainment area set up in the square of the CenSer in Rovigo will host the last two weekends of the Festival with great concerts that will see some of the major international artists perform winners last year at our Festival of the competition will open the evening which selected them to represent Italy at the International Blues Challenge in Memphis 2021 (postponed due to COVID in January 2022) The evening will be concluded by John De Leo with the Jazzabilly Lovers project in which he re-proposes rock and roll standard jazz like songs by Elvis Presley and Stray Cats De Leo is a great innovative artist able to experiment but also to enthuse (ticket 10 euros) On 10 July the very young Sticky Brain band five young musicians of great talent will have the opportunity to open the evening in which Deltablues has the honor of hosting one of the greatest jazz players in the world: Paolo Fresu with the artistic project Devil Quartet (Paolo Fresu perhaps the one that best suits a festival like Deltablues in a perfect balance between electric sounds and Jazz tradition presents two evenings entirely dedicated to the Blues The Italian-British team Superdownhome feat Superdownhome (Beppe Facchetti and Enrico Sauda ​​guitars and drums) will be “on stage” with Dennis Greaves (Guitar and voice) and Mark Feltham (harmonica and voice) in a captivating and exclusive musical project born from the contamination between the “Rural-Blues” by Superdownhome and Rock’n’Roll / Blues by the legendary Nine Below Zero The second concert on July 16 will be that of Baba Sissoko Mediterranean Blues which sees the contribution of Italian artists (Domenico and Fabrizio Canale Angelo Napoli) and international artists (as well as Baba Sissoko in it will find the traditional music of Mali – at the origin of the blues – with jazz On July 17th the first show will feature Ian Siegal & Mike Sponza Band Siegal considered by many to be the best English bluesmen will be accompanied by the band of Mike Sponza one of the best Italian blues guitarists and a permanent partner of Siegal She will be accompanied by an entirely Blues band with the internationally renowned Hammondist Pippo Guarnera as a special guest (Admission € 15.00) The last stop of the 34th edition of the Deltablues Festival will be in the Delta in the suggestive setting of Scanno Cavallari where the concert of Diana Sissoko & Massimo Garritano Duo will be held on July 18 (admission 5.00 euros plus cost of the ferry) Deltablues in addition to the support of the Foundation of the Savings Bank of Padua and Rovigo and the Municipal Administrations of Rovigo is also organized thanks to the collaboration of valuable partners: the state conservatory “Francesco Venezze” the web radios RadioBlueTu and Stazione Blues Radio of Bologna Special thanks to the two main sponsors: COOP Alleanza 3.0 and Mater Biotech-Novamont visit the Facebook pages Deltablues.it and Instagram DeltabluesRovigo Ceramics workshop with Sara Dall’Antonia An afternoon of Palazzo Roverella in Rovigo hosts a monographic exhibition on Henri Cartier-Bresson (Chanteloup-en-Brie focusing on the long relationship between the French master and Italy The exhibition HENRI CARTIER-BRESSON and Italy curated by Clément Chéroux and Walter Guadagnini is promoted by the Fondazione Cassa di Risparmio di Padova e Rovigo with the Municipality of Rovigo and the Accademia dei Concordi It is produced in collaboration with Fondation Henri Cartier-Bresson in Paris and Fondazione CAMERA - Centro Italiano per la Fotografia in Turin.The exhibition aims to document for the first time in a comprehensive and in-depth way the relationship between the man who has been called “the eye of the century” and Italy Through about 200 photographs and numerous documents the exhibition traces the stages of a relationship that began in the 1930s and continued until Cartier-Bresson abandoned photography in the 1970s the exhibition begins with the first Italian trip made in the early 1930s by a very young Cartier-Bresson in the company of his friend André Pieyre de Mandiargues On this trip the photographer took some of his most famous images all of which are featured in the opening section of the exhibition dates back to the early 1950s and touches on Abruzzo and Lucania emblems of the South where tradition and modernity poverty and social change were being confronted A central figure in the construction of the image of the South and in particular of these regions is the writer and painter Carlo Levi a fundamental reference for the many photographers who moved between Matera and the towns in the area becomes famous thanks to the shots of Cartier-Bresson and later Giacomelli Cartier-Bresson returned to Italy on several occasions between the 1950s and 1960s producing services for the great illustrated magazines of the time including Holiday and Harper’s Bazaar stops that allowed the photographer to exercise his gaze on the customs and habits of the country and its inhabitants The various shots taken in Rome fully restore the climate of those years and the specificity of a country not yet homologated to the dominant culture coming from overseas Some of these images feed into one of the photographer’s best-known books in which he chronicles the new Europe that is now in full swing after the tragedy of World War II The exhibition concludes with images from the early 1970s devoted to Matera and those dedicated to the world of industrial work which shift the focus specifically to the new ways of life of the period The exhibition is composed of vintage works from the Fondation Cartier-Bresson and is accompanied by explanatory texts in each room and a catalog essays by the two curators and Carmela Biscaglia For info: https://www.palazzoroverella.com/ 1951 © Fondation Henri Cartier-Bresson / Magnum Photos Palazzo Roncale in Rovigo will host an exhibition dedicated to the story of a very young woman from Rovigo known as a symbol of history and collective memory the woman who “dared” to study physics is promoted by the Fondazione Cassa di Risparmio di Padova e Rovigo with the support of the Accademia dei Concordi and the Municipality of Rovigo and the scientific curatorship of Elena Canadelli “She dared to study,” because at the time which in the eighteenth century had a population of roughly 5,000 inhabitants and an economy that was certainly not among the most flourishing a girl of just 15 years old would leave for Bologna to study at the University there seemed to be the subject of her studies: subjects that were beyond the competence proper “of women,” the editor points out.Even though it was the Age of Enlightenment universities continued to be exclusive training grounds for wealthy males attained degrees: Elena Cornaro Piscopia and Laura Bassi She arrived in Bologna escorted by an aunt and her housemaster to study logic the first “off-campus” student in history Her father had set his sights on her instead of her brother The figure of Roccati will make it possible to explore these highly topical issues in historical terms She has also been named after one of the telescopes that will be launched into orbit as part of the European Space Agency’s (ESA) PLATO project whose mission is to identify extrasolar planets similar to Earth-a new adventure for a woman who dedicated her life to science and the study of nature in the 18th century “In a world without women like the world of science at the time,” says the curator and the following year moved to Padua to continue her education with the study of astronomy and Newton’s physics Her career had actually begun with erudite and occasion poetry composed for example for the weddings of prominent personalities an activity that had made her appreciated not only in her hometown but also in Bologna and other academies in Italy A friend of the influential Rovigo man of letters Girolamo Silvestri she was accepted into the Accademia dei Concordi in Rovigo an important cultural and scientific coterie of the time because of the financial scandal in which her father had been involved the young Roccati devoted herself from that time on to teaching physics in her hometown addressing herself mainly to the members of the Accademia dei Concordi not without protest and even controversial resignation their “Prince.” After her lively experiences in Bologna and Padua Cristina Roccati’s life was always spent in Rovigo where she brought Galilean science and Newtonian physics in lectures that have come down to us to this day and that give us a cross-section of the science and society of the time," the editor further anticipates thanks to an ill-defined boundary between public and private in the second half of the 18th century some women managed to carve out a role for themselves in science Think of figures such as mathematician Maria Gaetana Agnesi in Milan and physicist Laura Bassi in Bologna mathematician Émilie du Châtelet The exhibition restores the voice to one of the protagonists of this electrifying season of science through an exhibition focused on the rediscovery of this forgotten figure It will also recount some historical and scientific aspects of the 18th century the century of reason and theEncyclopédie but also of the spread of Newton’s theories among the uninitiated and the wonder aroused by natural phenomena such as electricity the fashion for electricity shows and experimental demonstrations won nobles and academics in search of fame and notoriety enlivening the evenings of courts and drawing rooms such as The Newtonianism for Ladies (1737) by the Venetian-born writer Francesco Algarotti or Lectures on Experimental Physics (1743-48) by the Frenchman Jean Antoine Nollet a veil fell over her life and work after her death a veil that the exhibition at Palazzo Roncale aims to lift in order to trace through her the relationships between science society and the role of women in the Age of Enlightenment For a long time women have been excluded from institutional paths in science and even today the issue of the presence/absence of women in science continues to cause reflection and discussion with the persistence of gender inequality in scientific subjects." Ancient is the problem of the correct framing of Henri de Toulouse-Lautrec and his production: the long sequence of exhibitions that have been dedicated to him has looked and the public’s attention has almost always privileged the man rather than the artist Giulia Veronesi wrote that the evaluation of Toulouse-Lautrec “is often invalidated and misdirected by several facts,” first and foremost “the fact that his work is so charged with social content as to become in the highest degree symbolic,” and secondly the often having distinguished the painter from the graphic artist and sometimes even from the context that produced it Yet even Veronesi’s reading established a starting point that today appears almost restraining having based the beginning of the analysis of Toulouse-Lautrec’s production on a consideration by Theodor Däubler who was convinced that the painter from Albi was the first expressionist in the history of art: Toulouse-Lautrec would thus have inaugurated benefiting from Impressionist and Symbolist contributions that painting “which in the object transfers subjective expression makes it expressive by charging linear and color with expressive power.” Toulouse-Lautrec’s trajectory today it is difficult to call him a social painter From certain themes he was completely detached (work in industries which was instead the overriding concern of so many of his contemporaries) was not a translation of an interest in current events (if anything Toulouse-Lautrec was not an artist who denounced nor was he a kind of reporter with a paintbrush a kind of description from the inside that by virtue of its sincerity and also its variety ended up taking on the traits of the symbol became the allegory par excellence of that turn of the years that we define under the title of ’Belle Époque.In Rovigo Palazzo Roverella is dedicating an exhibition to the problem of Toulouse-Lautrec’s historical placement Jean-David Jumeau-Lafond and Francesco Parisi the exhibition takes into consideration almost the entire artistic career of the painter deliberately leaving in the background certain themes largely plumbed by previous exhibitions (the world of the circus which is well present but not only as theobject of the painter’s attentions as much as above all as the fertile soil on which Toulouse-Lautrec cultivated his art and pouring its concentration above all on the context of the fin de siècle Paris will find above all an exhibition of paintings: it should be remarked since in recent times we have been accustomed to exhibitions on Toulouse-Lautrec built mainly to know Toulouse-Lautrec’s painting if one wants to know Toulouse-Lautrec for it is from painting that his modernity originates it is from experiments in painting that the Toulouse-Lautrec best known to the general public was born on thestrongly experimental attitude of this artist who was born in the hills of Occitania and arrived in Paris at a very young age to study from the masters of the capital beginning with that Léon Bonnat whose contribution on the formation of the young Toulouse-Lautrec was reread on the occasion of the exhibition in Rovigo: it is necessary “to rethink the established interpretation,” writes Francesco Parisi in the catalog “that the period spent with the first master was more to be considered as a sterile passage consisting of useless indoctrination and preparatory only to the later entry at Fernand Cormon’s atelier.” It was in Bonnat’s atelier that Toulouse-Lautrec’s first interests in reality sprouted which was initially expressed through a painting of somber tones as seen in the only work in the exhibition referable to the early days of his apprenticeship with Bonnat namely Champ de courses in which theartist depicts a horse race which nevertheless gives evidence of the free and experimental attitude of a Toulouse-Lautrec then just in his twenties but already projected toward cursive painting toward unconventional color contrasts: one gets further evidence of this by looking at two later works two works executed when Toulouse-Lautrec frequented Cormon’s workshop two works built around academically based compositions yet imbued with the spontaneity that Cormon (present in the exhibition with a majestic portrait of a fisherman entitled Avant la pêche) advocated for his students but which already hint at the artist’s future attitude further discernible in the portrait of his father on horseback which the audience encounters in the same room and which foreshadows the later outcomes of his art the curators accompany the audience to late 19th-century Paris cabarets and theaters with the section Sur la scène a lively chapter of the exhibition functional to give an idea of the variety of the venues that animated the social and cultural life of the French capital places of “democratization of amusements,” the room panels inform us as the prosperous economic situation of Paris at the time allowed anyone to frequent the city’s many venues It was this world that fascinated Henri de Toulouse-Lautrec: one catches an echo of it in front of paintings such as Louis Abel-Truchet’s Le Café-Concert or Charles Maurin’s Le Moulin de la Galette chosen not only to transport visitors into the atmospheres of Parisian nightlife and to offer a tangible sign of the fascination this world exerted on artists (even on a young Pablo Picasso incidentally: a pastel of his depicting the actress Yvette Guilbert but also to give an account of the research the ideas that circulated among the artists who frequented this much-mythologized milieu (look at the contrast between the figures on the left observing the scene and the dance hall patrons dancing in the center Nor was there any shortage of those who sarcastically observed the nocturnal amusements of Montmartre: this is evidenced by a significant painting such as L’entrée au bal by Félicien Rops intends to emphasize the marked social distance between the elegant ladies entering a dance hall and the boy dressed in rags observing them from outside though close to Rops (especially in the 1990s) looks instead primarily to the Impressionists notably Edgar Degas: the old Impressionist is present with an Étude de danseuses that introduces the public to one of his favorite themes and dialogues at a short distance with the first Toulouse-Lautrec masterpiece one encounters in the itinerary the Danseuse assise sur un divan rose of 1884 a canvas depicting a dancer sitting on a sofa but for Toulouse-Lautrec the colleague is but a starting point for his investigation Toulouse-Lautrec wants to capture the life of fin de siècle Paris and the role of psychoanalyst hardly fits him who goes into industry to satisfy that “desire to ’capture,’” as Nicholas Zmelty effectively defines him in the catalog “which passes through the multiplication of expressive means and stylistic developments in perfect harmony with his research [...] Toulouse-Lautrec exploits all the means at his disposal to capture in his works the life he loves so much and of which he is both avid spectator and passionate actor women: Toulouse-Lautrec is not content to observe things coldly confronts them in order to feel them better in the flesh to appreciate them and be able to return them in the most authentic and concrete way possible.” Hence the need to break free as quickly as possible from Degas in order to seek a personal as seen in the canvas Au bal masqué à l’Élyséand Montmartre which we can imagine sketched directly on the spot some members of the Société des Incohérents to whom an entire section of the Rhodesian exhibition is dedicated Paris is still the protagonist of the following sections where a group of paintings is gathered together that tell the city as a whole (they range from a large view of the Quai de Bercy by Albert Dubois-Pillet to women in front of the Moulin Rouge by Alfredo Müller of Livorno from George Bottini’s window-shopping to engravings with views of Montmartre by Charles Maurin and Eugène Delâtre: there is also no shortage of ceramics from the Parisienne a symbol of the elegance of that Parisian woman “heroicized by fashion and spirit,” writes curator Jumeau-Lafond) and then with the chapter Les peintres du petit boulevard the name given to the group of artists who frequented Cormon’s atelier: these included and even Vincent van Gogh (with respect to the Dutchman the exhibition places great emphasis on his role as a lively and participatory cultural animator: audiences unfamiliar with this aspect of Van Gogh will be surprised; it’s just a pity that his works cannot be seen in Rovigo) It was Van Gogh himself who went out of his way to organize an exhibition of the Peintres du petit boulevard in 1887 and the suggestions that Van Gogh provided for Toulouse-Lautrec can be seen in the 1888 portrait of François Gauzi arriving from the Musée des Augustins in Toulouse: the bold strongly foreshortened vertical cut derives from Japanese prints for which Van Gogh had already developed a strong passion which he was able to pass on to his friend The desire for modernity nurtured by the Peintres du petit boulevard was substantiated by a painting attentive to the life of the city in all its aspects (the room panel refers to an 1883 Étude de nu by Toulouse-Lautrec which the audience will see three rooms later: a royal nude that criticized the academic ones exhibited in the Salons) is also evidenced by the portrait of Carmen la rousse Carmen “the redhead,” who in the verse of a panel in the Musée Toulouse-Lautrec in Albi in which the girl is depicted in a traditional pose with the idea of returning a portrait that conveys her state of mind Toulouse-Lautrec’s cultural milieu then also animates the following section and personalities of the Montmartre of the time and there are also portraits of Toulouse-Lautrec painted by his friends as well as paintings that given account of those atmospheres such as Charles Maurin’sAuror du rêve a canvas inspired by Baudelaire’s Flowers of Evil which the public finds in Veneto a few years after the Rose+Croix exhibition on mystical symbolism held between 2017 and 2018 at the Peggy Guggenheim Collection in Venice It is difficult to give an account in a short space of the largest and most ramified section of the exhibition (thirty are the pieces that compose it) the works from the colony of Spanish artists in Paris is dedicated an essay by Mario Finazzi in the catalog in which the points of tangency and possible absorptions of the Iberians of Montmartre by Toulouse-Lautrec are analyzed There are the portraits of artists variously linked to the painter from Albi also because of similarities in frequentations: so here is a portrait of Giovanni Boldini executed by Degas and partly because the artist’s contacts with the Italiens de Paris are well known And then there are the works related to the Symbolist movement such as the aforementioned painting by Charles Maurin a masterpiece such as Pornocratès by Félicien Rops Carlos Schwabe’s Les Litanies de Satan or even the portrait of Paul Verlaine by Edmond Aman-Jean or that of Joris-Karl Huysmans executed in ink on paper by Félix Vallotton: even if Toulouse-Lautrec did not feel Symbolist impulses certain dark and oppressive overtones sometimes take hold of his work and allow his art to be read from a new And to realize how these nuances could enter Toulouse-Lautrec’s art one need only take a few steps further and enter the next section which revolves around the theme of absinthe addiction capable of taking on the features of a social scourge in late 19th-century Paris: la Fée verte the “green fairy,” as this alcohol was nicknamed because of its color became something of a symbol of bohemian life and for many turned into a devastating disease (Verlaine’s alcoholism so much so that in 1914 absinthe was declared illegal Welcoming the public into the room is a painting by Albert Maignan depicting a personification of absinthe: the Muse verte is a comely fairy who reaches behind the drinker’s back and attaches herself to his head causing him that state of intoxication sought by consumers of the strong drink Absinthe was drunk diluted with water and a sugar cube which dripped into the glass through a special pierced spoon that was placed on it.Around the table that evokes the ritual of absinthe consumption one can admire the works featuring absinthe drinkers One of the pinnacles of the entire exhibition is the double confrontation between Toulouse-Lautrec(À Grenelle: L’attente and La buveuse) and Rops(Le Quatrième verre de cognac and La buveuse d’absinthe) one of the most interesting subjects of the Rovigo exhibition: “Lautrec,” Parisi explains "produced several works on the theme of female alcoholism [...] If Rops’ Buveuse showed traces of intoxication and a satanic look the interpretation given by Lautrec turned out to focus more on the ’bestial’ character of the woman than on the ’transcendental’ and culturally decadent aspects as seems explicitly evident from some of the works Lautrec was nevertheless far from the Belgian artist’s demonic depiction of woman even when placed in contexts more congenial to him." In Rops’s two works the artist’s gaze reaches a savagery that is entirely unknown to Toulouse-Lautrec an artist with a more melancholy temperament: À Grenelle a work presumably inspired by a ballad of the same name by the chansonnier Aristide Bruant (the subject of some of the artist’s celebrated prints) the malaise of the frequenter of a bar who submerges her past in the glass of absinthe placed before her offer insight into the consequences caused by absinthe: This is the case with Gustave Bourgain’s Buveur d’absinthe a pitiless portrait of a drinker with a vacant gaze and a scruffy air in front of the glass of the green alcoholic a 1904 masterpiece by André Devambez in which one of the protagonists seated around the table the one on the right (perhaps Paul Verlaine) appears at the mercy of the effects of alcohol because although it depicts some artists and intellectuals arguing around a table and thus apparently a work that effectively restores the climate of those years it appears to us to be crude in restoring these characters ahead in years who still have not resigned themselves to the passage of time a circumstance of which the woman clutching the magazine L’Art is probably aware We know her: she is the painter Victorine Meurent had been the model for Édouard Manet’sOlympia : that naked uninhibited young woman has become the sullen old woman in Devambez’s painting is that of Eugène Grasset’s Vitrioleuse a portrait of a disturbing-looking woman holding a bowl of vitriol namely the section devoted to Les arts incohérents the singular movement led by Jules Lévy and only re-emerged to critical attention in 2018 when several works by artists belonging to the group were rediscovered thanks to the work of gallerist Johann Naldi (also author of the catalog essay devoted to this very particular movement): some of these works were moreover declared Trésor National by France’s Ministry of Culture it was thought that all the works of the “incoherent” artists had been lost: in Rovigo it is therefore possible to admire a selection of works by this mishmash of characters that included professional and amateur painters Surrealism and much twentieth-century art with the aim of “challenging through laughter - but not only - the seriousness of the art world.” Works that for the first time in history come out of France: another gem Here then is the first monochrome painting in the history of art known so far Paul Bilhaud’s Combat de nègres pendant la nuit an all-black canvas accompanied by an ironic title to mock the public a green curtain entitled Des souteneurs encore dans la force de l’ âge et le ventre dans l’herbe a painting-object by Gieffe (pseudonym of François Jules Foloppe) that gives substance to a fable by La Fontaine and posters and catalogs of the exhibitions that the incoherents managed to organize in Paris could not be missed either Toulouse-Lautrec also frequented this group and helped it set up a number of exhibitions without calculating the fact that he was among the artists who benefited from the desecratory free and rebellious climate that was in place whenever Jules Lévy and co the prostitutes depicted by Toulouse-Lautrec in a well-known portfolio of lithographs (some examples are in the exhibition) that had little commercial success but raised discussion beginning with its publication in 1891: the section while not the most original in the exhibition (the theme of meretriciousness in Toulouse-Lautrec is among the most critically examined) nonetheless offers a more comprehensive view of the theme of prostitution in the art of the time establishing a new parallel with the art of Rops who in Les Deux amies approaches thesubject from a different perspective emphasizing "the devilishallure of the temptress woman rather than the more realistic aspect of the female condition" (so Agnese Sferrazza) with his Études de nu (one of which compared with a canvas by Giovanni Boldini: same pose in addition to polemicizing the academic nude by offering a simple manages to enter the daily life of his models overcoming any stereotype but at the same time avoiding pietism and pity Toulouse-Lautrec’s was simply a search for truth such as that of Mademoiselle Lucie Bellanger or the even more eloquent one known as Femme se frisant a snapshot of a girl combing her hair in front of a mirror Works that are presented with that immediacy and spontaneity that Toulouse-Lautrec had arrived at after years of intense experimentation arriving at a painting made of oil colors dissolved in turpentine and then spread on cardboard: “the raw cardboard,” explains Fanny Girard in her essay entirely centered on Toulouse-Lautrec’s technical innovations which takes on anopacity reminiscent of pastel,” avoids the glossy effect that the artist shunned and gives the whole the sketchy appearance that We descend to the lower floor for the last three rooms of the exhibition: one of these is entirely devoted to the Chat Noir cabaret perhaps the most daring of cafés in late 19th-century Paris magazines (the Chat Noir had one of its own) even signs to evoke the extraordinary season of the nonconformist cabaret founded by Rodolphe Salis the first café to introduce a piano a joyous meeting point but also a “workshop of Decadentism and Symbolism” as Jumeau-Lafond well reconstructs: the exhibition is able to offer a lively and valuable reconstruction of what the Chat Noir must have been The conclusion of the exhibition is entrusted to the two more conventional rooms those on Toulouse-Lautrec’s posters and graphics to close the discussion with the best known and most innovative portion of his production a “great art,” that of the Monets was “on its way to the grave.” it was certainly too early to celebrate the funeral of Impressionism which would still have something to say in the early part of the twentieth century but it can nonetheless be said that already at those heights the German critic had sensed the scope of Toulouse-Lautrec’s art we reread in the framework of a broader context stripped of the mythographies that have accompanied it in most of the exhibitions that have been dedicated to it also because of the ease with which it is possible to organize exhibitions about him (the advantage of lithography lies in the fact that ideas circulate more is that the reproduced image lends itself to rawness and pre-packaged exhibitions that besides the artist’s big name have little to give the public) “Finally,” one might say at the end of the Rovigo exhibition: an exhibition in which the context in which the artist worked is reconstructed with lenticular precision and with surprising novelties (the hall of the incohérents alone is worth the trip to the Veneto) an exhibition that does not get lost in anecdotes about the artist or in biographism an exhibition that brings out clearly the spirit of the artist A spirit that corresponds little to the soul of the supposed celebrator of the Belle Époque that Toulouse-Lautrec never was much less was he a kind of activist who revealed the social conditions of the categories that populated his works who become the privileged subject not on the basis of ’a desire to denounce but partly because they were frequent subjects in the art of the time and partly because they were familiar to him A spirit certainly more restless and decadent than the one sung by the vulgate The exhibition gives a more complete reading of it certainly closer to what must have been the real temperament of Henri de Toulouse-Lautrec Facundo Ferrario will continue his playing career in Italy The Argentine fullback has signed for Rovigo for the 2021-2022 season He moves to Europe following his involvement with Los Cafeteros Pro in the 2021 Súper Liga Americana de Rugby (SLAR) Ferrario was a regular for the Colombian team during the season The 23-year-old is capable of playing in a range of positions in the backline. He did so for Cafeteros Pro this year, due mostly to the needs of the team. His departure to Italy follows that of other SLAR players including his teammate and captain Gonzalo García Rovigo are the reigning champions of Italy’s domestic championship The club won the title with Argentine center Diego Antl involved Antl has since departed the club to join Valorugby Emilia Rovigo defeated Petrarca Padova 23 -20 to secure their 13th national title Ferrario is a product of Jockey Club de Rosario His move to Italy will be his second experience playing rugby abroad His first was playing SLAR for Los Cafeteros Pro Tags An exhibition dedicated to Giacomo Matteotti (Fratta Polesine specifically in Palazzo Roncale from April 5 to July 7 among the leading scholars of Matteotti and the history of socialism There are several committees and foundations participating and collaborating in promoting and supporting the exhibition which falls on anniversary number 100 of the politician’s assassination These include: the Provincial Committee for the Celebrations of the Centenary of the Death of Giacomo Matteotti the Veneto Regional Museums Directorate of the Ministry of Culture the Filippo Turati Foundation for Historical Studies in Florence and the Giacomo Matteotti Foundation in Rome.Through documents never before exhibited the exhibition evokes the activities Matteotti carried out as a public administrator in different realities of the Rovigo area such as his engagement in union and parliamentary activity and as secretary of the United Socialist Party The Salce Collection National Museum in Treviso provides a series of posters that document how much the Matteotti affair affected Italy at the time The aim of the exhibition is to redefine the figure of the politician removing him from an abstract representation and giving him back the body of his real presence in places The exhibition thus develops as a narrative through images and documents that manage to reconstruct a life lived in the totality of civic engagement His portrayal as an organizer of leagues and cooperatives deputy in Parliament in the irreducible opposition to Fascism and finally secretary of the United Socialist Party aims to restore a new and concrete image of Giacomo Matteotti “Few politicians have been able to inspire,” Professor Caretti points out “entire generations and arouse such profound and lasting echoes but few have been both glorified and less well known Certainly it has somewhat harmed the understanding of Matteotti’s complex personality that the mythical aura has prevailed over the concrete figure of the man An ideal sublimation that has focused exclusively on the martyr thus blurring the true traits of the character favoring his metamorphosis into an essentially ethical symbol and sacrificing the human depth and historical significance of his work.” A collection with a singular history goes on display in Rovigo exhibition venue of the Fondazione Cassa di Risparmio di Padova e Rovigo Masterpieces from the de Silvestri Collection the brainchild of Sergio Campagnolo and curated by Alessia Vedova will indeed bring the story of the De Silvestri family’s collection to new light: it was 1877 when the last two heirs Count Gerolamo De Silvestri and his brother Cardinal Pietro De Silvestri (hence the title) bequeathed the family picture collection half to the Episcopal Seminary and the other half to the City of Rovigo and the Accademia dei Concordi without establishing what was to come to whom The collection consisted of more than 200 works: a very unwieldy collection for the two brothers Both heirs in fact struggled to dispose of the collection trying to offload ownership of the collection to the other considering it too onerous to manage and not at all interesting.The Seminary gladly acquired the archaeological collection that the de Silvestri family had left along with the picture gallery while they hoped that the latter would be taken over by the Accademia dei Concordi which had been the happy recipient of another family bequest the extremely valuable Silvestrina Library including unique masterpieces such as the fourteenth-century Bible Istoriata Padovana the House of Francesco Petrarca in Arquà had already been destined by the De Silvestri family to the City of Padua The dispute arose from the fact that it was not possible to refuse the bequest which an expert of the time described as “junk store stuff.” Thus the race to dispose of it was solomonically resolved by numbers: the works with an even inventory number went to the Bishop’s Seminary at the recent confluence of the Seminary’s Pinacoteca with the Accademia’s Pinacoteca the dismembered collection came back together recovering the original unity to which the two illustrious donors had aspired Why such indifference to such an impressive art collection explains: “That of the de Silvestri nobles is a typical private collection of the time: many eighteenth- or seventeenth-century works which were not particularly appreciated at the time a good number of copies wanted for study or decorative purposes Nothing that really intrigued Academicians or ecclesiastics.” so much so that to our eyes the choice to dispose of the collection appears short-sighted The collection includes great 14th- and 15th-century works by Nicolò di Pietro and Quirizio da Murano which are among the masterpieces of the present Pinacoteca and then canvases by artists such as Sebastiano Mazzoni “This exhibition,” the curator continues “turns the spotlight back on the Collection and makes it the subject of a major study campaign it will analyze and document this heritage that has largely ended up in storage The scientific investigation of all the works will continue after the exhibition and in this work I will be joined by other university specialists images and scientific records of the entire collection will be made available online Another project involves putting online the entire Historiated Bible an illuminated manuscript now divided between Rovigo and the British Library in London.” The exhibition offers the public a selection of the most significant works from the collection but as is in the tradition of Palazzo Roncale exhibitions it also aims to acquaint the public with the history of the De Silvestri family Not only the figures of the two last protagonists will be investigated but also those of other members of a family that distinguished itself in many ways in the city and Polesine a prominent personality in mid-nineteenth-century Rome a crucial moment for the fate of the Papal States Silvestri took on the task of pursuing the interests of the Austro-Hungarian Empire at the throne of Peter except that he became convinced of the need to unite Rome with the new Kingdom of Italy a position naturally opposed by the papal court to the point that no solemn tribute was paid to him upon his death His body was silently interred at the Verano Cemetery and then moved to the family tomb in Rovigo The palace and property not otherwise assigned finally came to the Bishop of Adria and from them the “Patronage-School de Silvestri for poor girls” came to life The exhibition is sponsored by the Fondazione Cassa di Risparmio di Padova e Rovigo in collaboration with the Municipality of Rovigo Accademia dei Concordi and the Bishop’s Seminary For all information you can visit the Foundation’s website Sign up for our daily Newsletter and stay up to date with all the latest news You are receiving this pop-up because this is the first time you are visiting our site You are using software which is blocking our advertisements (adblocker) we are relying on revenues from our banners So please disable your adblocker and reload the page to continue using this site.Thanks sponsored by citrus producer Agricola Lusia for the 14th time: the ‘Bersaglieri’ beat Petrarca Padova 16-9 in the final of the ‘Top 10’ which took place in Parma putting their signature on the 92nd edition of the men’s 15s rugby tournament "It is a great honor for us to be partners with Rugby Rovigo Delta with whom we share many of our company values - says Daniele Campagnaro Agricola Lusia’s CEO - and we congratulate the whole team for this extraordinary result" which is worth the title for the third consecutive year brought Rovigo back at the top of Italian rugby after two years a Venetian company led by the Campagnaro family has been distributing citrus fruit products One of the main citrus producing countries in the Southern Hemisphere as well as a privileged partner of Agricola Lusia Many of the champions who contributed over the years to building the legend of Rugby Rovigo came right from there to the giants Dirk Naudè and Lubabalo "Giant" Mtyanda to Nick Mallet (former South Africa coach) to Gert Small Agricola Lusia has always considered sport an important vehicle to convey the values of a healthy and respectful lifestyle values which the company is committed to promote through its business healthy and high nutritional fruit & vegetables via the Country’s main retailers after having carefully selected them around the world This same vision has guided the development of the most innovative Project the only oranges with guaranteed juiciness created in collaboration with Ca' Foscari University of Venice which led to the development of a patented method allowing the scientific selection of each individual orange determining its juiciness with objective and measurable parameters without destroying the fruit and therefore in a completely sustainable way Agricola Lusia has decided to present the product to the international stage and following the prestigious Fruit Logistica showcase in Berlin “iSuccosi” will be present at Fruit Attraction in Madrid from 3 to 5 October 2023 For more information:Ilaria ToniAgricola Lusia Tel. +39 0425 607902Email: [email protected] www.agricolalusia.it FreshPublishers © 2005-2025 FreshPlaza.com Palazzo Roncale in Rovigo is hosting the exhibition Visions of Hell an exhibition devoted to illustrations of Dante’s Inferno by three great artists one per century: Gustave Doré (Strasbourg audiences will see the entire corpus of Doré’s 75 plates of Dante’s Inferno Rauschenberg’s 1958-1960 images of Dante’s Inferno and German artist Brand’s illustrations done with today’s eyes and sensibilities The exhibition is curated by Alessia Vedova Barbara Codogno and Virginia Baradel.“Gustave Dorè (present in the exhibition with plates from a large collection in Parma) succeeded in the feat of representing in graphic signs and forms what Dante’s verses expressed in one of the highest poetic works of all time,” says Alessia Vedova “And it is precisely the illustrations made for Inferno that are his true masterpiece so much so that they have become part of the collective imagination.” Théophile Gautier wrote that Doré knew “how to see things from their bizarre ” and that he “possessed a visionary eye that knows how to release the secret and singular side of nature.” Rauschenberg chose the technique of carryover drawing(transfer drawing) for his illustrations of the Divine Comedy combining his drawings and watercolors with images transferred from the pages of glossy magazines writes Barbara Codogno “brings Inferno to the surface contextualizing it in a contemporary dimension the source images used by Rauschenberg relate postwar American political life and social soul to Dante’s epic narrative both united by an inescapable descent into hell.” The plates of Dante’s Inferno exhibited in Rovigo are part of the print run that Rauschenberg authorized to gallery owner Lucio Amelio The folder intended for this exhibition was the famous gallerist’s personal one Alongside two celebrated cycles by Doré and Rauschenberg the exhibition features a world premiere: Dante Alighieri’sInferno read with the sensibility of our times by German artist Brigitte Brand “The powerful fascination of Dante’s Inferno,” writes Verginia Baradel “led her to rework the baggage of her visual notes on the human Comedy observed at different latitudes of the planet with the places and figures of the first Canticle of the Poem small wandering signs in sulfurous and swirling spaces seem to narrate the events and protagonists of the cantos now flanked by iconic quotations related to everyday life.” The exhibition also intends to expand to other testimonies underscoring the fascination of Comedy throughout the centuries up to contemporary forms of expression From the Accademia dei Concordi and the Library of the Episcopal Seminary of Rovigo some precious ancient editions of the Comedy have been granted to the exhibition while a space will be reserved for the original volume L’Inferno di Dante 2010) illustrated and commented on by Patrick Waterhouse and Walter Hutton There will also be a focus on the 1949 L’Inferno di Topolino project drawn by Angelo Bioletto and scripted by Guido Martina in Dantean tercets All this is to emphasize how Dante’s Comedy continues to fascinate whatever the artistic expression or latitude in the original version or in the most diverse “reinterpretations.” Pictured: Gustave Doré: Divine Comedy SunEdison Renewable Energy (SRE) has built a photovoltaic plant in Rovigo The 70MW plant is one of the largest of its kind in Europe Construction of the plant began in March 2010 after the Italian Government gave its final approval The facility became fully operational in November 2010 The solar power plant is estimated to reduce carbon dioxide emissions in the region by 41,000t per year which is equivalent to taking 8,000 cars off the roads The SunEdison plant is one of Italy’s largest installations and produces enough energy to light 17,150 homes The plant was established and co-owned by SunEdison and Spanish equity firm Banco Santander SunEdison sold the plant to First Reserve for €276m ($382m) First Reserve owns the plant through a joint venture between First Reserve Energy and SunEdison in which the later is the minority stakeholder Investors in the First Reserve joint venture are Perennius Capital Partners and Partners Group First Reserve made an initial payment of €46m in May 2010 for a stake in the plant The remaining payment was made after the plant was interconnected in the fourth quarter of 2010 SunEdison will continue to operate and maintain the plant Various overseas and Italian banks were approached to finance the SunEdison Photovoltaic Power Plant Banco Santander financed the installation of the plant Societe Generale and Credit Agricole were the other financial partners The SunEdison Photovoltaic Power Plant was designed and built by large-scale infrastructure construction company Isolux Corsan which signed a partnership agreement with SunEdison in March 2010 to design operate and maintain services at the photovoltaic plant installations for the support structures were completed One transformation centre and inverter cabin were also constructed The SunEdison Photovoltaic Power Plant is being built on an 850,000m² site Power is generated using 280,000 flat solar panels and 58 steel poles which created approximately 500 construction jobs for local people has 60 transformation centres and inverter cabins A high voltage substation was built in partnership with Italian grid operator Terna SRE took measures to mitigate the impact of the plant on the local environment Isolux claims to have followed a fully unified approach during its design to avoid adverse environmental effects on the landscape and natural habitats enhanced vegetation and undertook agricultural and farming activities Italy was third in the European photovoltaic market after implementing 711MW of photovoltaic installations in 2009 the country had approximately 150,000 photovoltaic installations and a total capacity of 3,000MW The market for photovoltaic power production industry in Italy is doubling every two years The newly installed photovoltaic capacity of Italy was 1,850MW in 2010 About 3,000MW will be installed between 2011 and 2013 The country aims to achieve 8,000MW solar capacity by 2020 Italy’s installed solar capacity is expected to surpass that of the US in a few years aims to generate 20GW of new renewable energy by 2020 in the region The developments will include generation of power by PV (3–4GW) by concentrated solar power (10–12GW) and by wind (5–6GW) SunEdison is developing 12 1MW solar plants in Lecce the company signed a deal with German bank Norddeutsche Landesbank under which the bank will support the project with €47m The Enel and Sharp joint venture is developing solar farms in southern Italy with a planned total capacity of 189MW for 2012 Other large solar power plants in the European region include a 60MW solar farm in Olmedilla Give your business an edge with our leading industry insights View all newsletters from across the GlobalData Media network until the Master’s last years on French soil.“After a number of exhibitions aimed at highlighting individual aspects of Kandinsky the goal of this project is to help grasp the unified arc of the artist’s path,” anticipate Paolo Bolpagni and Evgenia Petrova This will be done “by identifying the constants that from the early twentieth century until the end innervate his highly personal way of painting: the search for an inner authenticity the desire to create a new and free visual world and the link with Russian folk art and especially with the creative expressions of the peoples of Siberia The musical and ethnographic components reveal a common spiritualistic root.” All this while gradually witnessing the coming to life of the gradual shift from figuration to abstraction which emerges as the keystone of one of the most radical revolutions in painting of the first half of the 20th century Kandinsky’s contribution to the creation of an expressive form of painting based on new assumptions is enormous “despite the great historical-critical work that there remains something enigmatic in the analysis of his path Numerous were the matrices from which sprang that artistic language that shocked the twentieth century: from the very strong power of suggestion exerted on Kandinsky by music to the knowledge of the peasant folk culture of deep Russia; of the houses furniture and colorful costumes with which he came into contact during an expedition to the Vologda territory in Siberia.” Kandinsky’s fascination also lies in his impregnability And the aim of the exhibition designed for the Roverella is to analyze the constant change and evolution of his evocative and visionary art first and foremost in the fundamental shift from figuration to abstractionism in the dialectic between expressive freedom and ordering principles The exhibition is sponsored by the Fondazione Cassa di Risparmio di Padova e Rovigo in collaboration with the Municipality of Rovigo Now with Rovigo Delta – while also coaching Namibia – we catch up with the former Springboks boss Allister Coetzee in Rovigo (Rugby Rovigo Delta/Massimiliano Sandri) “It’s not something I can give a clear-cut answer on!” replies an upbeat Allister Coetzee when asked how he ended up in Rovigo coaching the Delta side through the Peroni Top10 league Nestled in north-west Italy’s Veneto region lies this famous club who in their prime called in players from abroad like Naas Botha And they also have a globally recognised coach at the helm But to understand how former Springboks and Stormers head coach Coetzee ended up there you need to appreciate what had happened in the last few years “I was seeing my contract out in Japan (with Canon Eagles) when Covid hit,” he tells Rugby World “I went back home – family first – and I never thought of returning to Japan and extensions of contracts or those kinds of discussions were never on the table as that was quite an uncertain time for everyone “I was panicking to get a flight home before all the borders closed and I just made it. I was on the second-last flight out of Asia to South Africa I just got out and obviously everything just spiralled out of control with the pandemic And I was stuck in South Africa for a year “It was quite an important time to catch up with my family again because I’d been on the road for some time “The uncertainty was a challenge and as a family we were hit hard by Covid sister and brother-in-law on my wife’s side But the positive of this whole thing is that if I had been busy with rugby He was fortunate enough to be able to sustain them and in the interim he got to spend quality time with his two grandkids their families and his wife’s loved ones too Rugby was always going to come back though And while there was nothing on the immediate horizon for Coetzee And this is why it’s not exactly clear-cut the former Springboks player and coach,” he begins “I was with him at Eastern Province from 1999 to 2001 And through him I met this citrus farmer from Italy He frequently came to South Africa to visit Nelie and that’s how I met Danilo Ortolani “He was texting me when the Springboks played in Padova in 2017 He said if I was ever tired of the intense coaching at the top level while I was at home (during Covid) he would text me ‘What are you doing?’ He said once things opened up to come and visit the club He spent ten days there last year and he was snared hoping to develop players who can not only represent the Azzurri considering Coetzee was in charge of the Boks that day in 2016 Coetzee says that he sees a bottom-up approach taking root in the country, with the incredible efforts of Italy U20 in recent years needing the chance to keep rolling with increasing standards elsewhere. Franco Smith gets namechecked for his focus on new Emerging Italy or Italy A fixtures being created, with more scrutiny of those steps between the grass-roots game, the United Rugby Championship and then Test level is the relative numbers of athletes they can work with how the hell do you juggle the need for victory and the hope to help emerging Italian talent find a route to the top “There’s a huge expectation for Rovigo to do well but the other part of my process is to make sure that in our region in Rovigo and Ferrara (and others in the region) and the little clubs around us I’ve done a whole lot of coaching clinics with coaches just in the local Rovigo area and hopefully things can can grow from here So while the club is in the play-offs zone in the league, he can try and bring people on. Every so often a talent comes into your orbit too, with other coaches hoping you can help bring them on. Like with Giacomo De Rea, who was sent to Rovigo from Benetton to try and come on – a player who has the ability to play ten or 15, and who has made a big leap to be involved with the Italy squad during the recent Six Nations Running out (Rugby Rovigo Delta/Massimiliano Sandri) Of course, while in Italy Coetzee is plotting another Rugby World Cup qualification for Namibia who need to triumph in the 2022 Africa Cup in July if they are to nab the Africa One spot in Pool A So where are Namibia – and the planning process – at the moment Coetzee tells us: “Namibia has got so many talented players but obviously they lack a high-performance mentality in their own country at the moment They don’t take part in a strong club competition they don’t participate in their neighbouring country’s Currie Cup or the lower division you can imagine the number of rugby players But they have guys who are really passionate about the game and people that need a bit of direction in how they take what they have and on a short timeline produce a bit of quality I’m really happy to be able to contribute in a small way “Ahead of the Africa Cup I plan to have a three-week camp down in South Africa to get together with the best possible team That is what I’m busy with at the moment so we have a good idea of what happened there and they won both of those games “So it will be just to get those players and a number of other players who were born in Namibia that could qualify to represent the country and add to the squad that played in November and even strengthen that “My job at the moment is to make sure that they understand the way we want to play just by internet Zoom meetings and (passing on) the policies of the way you want to attack and how we want to improve The biggest and the most important thing is to make sure that they are well conditioned once they join us Namibia at the last Rugby World Cup (Getty Images) “We have also planned three games prior to the tournament So in Cape Town we are hoping to play Maties – Stellenbosch University And then I just need to finalise the last match possibly against an Italy A side and whether that’s going to be in Italy or in South Africa needs to be decided.” A run we have seen Namibia put together before but the next big challenge nonetheless Which means that Coetzee is currently playing a role in helping two nations improve their rugby fortunes A job the 58-year-old coach says he is very much enjoying For so many out there, this coach’s name will be more readily associated with holding the Springboks role before Rassie Erasmus came in and overhauled so much about the set-up in 2018 A proud nation’s fortunes were completely turned around Much has also been said about the restrictions Coetzee faced how after his reign there was far more alignment between provinces and the Boks  while other selection avenues opened up – seen as masterstrokes from the current regime there could be plenty from that time that influences Coetzee now he says simply: “There are a lot of negatives to (his end with the Boks) but my life philosophy is: it doesn’t matter what is thrown at you you’re still going to try and make it workable and as positive as you can So I’ve learnt a lot in that time and that just made me stronger as a person and that helped me to become solution-driven “You’ve got to just try to think outside the box all the time but every bad thing is not necessarily bad unless you let it be if you think your potential is better than that You use your potential to the fullest to make things possible and positive.” and help foster some supreme Italian talent and things couldn’t get much more positive but it’s great to be in the thick of the game once again Download the digital edition of Rugby World straight to your tablet or subscribe to the print edition to get the magazine delivered to your door so who better to front a new look than England’s man… Palazzo Roncale in Rovigo hosts the photography exhibition 70 Years Later and promoted by the Fondazione Cassa di Risparmio di Padova e Rovigo.“Remembering today that event is a social duty,” said Foundation President Gilberto Muraro to retrace a chronicle that became history on the eternal and unfulfilled urgency to respect rivers and the environment And it is also an opportunity to understand as direct witnesses of the event become rarer and rarer what has remained of it in the personal and social DNA of Polesanians those who continued to live in Polesine and Polesanians forced to be born and grow up elsewhere For whom the Great Flood is an important piece of family history still present but fatally destined to evaporate generation after generation.” “This exhibition,” Muraro continued “aims above all to focus on how that tragedy affects the physical social and economic fabric of Polesine today Which certainly brought a territory to a standstill but which proudly thanks in part to state provision for distressed areas and the help of many Italians and others even though it remained a stranger to the industrial explosion that changed the face of other provinces in the Veneto from the 1960s onward.” “In the absence of a real development of the industrial sector,” pointed out exhibition curator Francesco Jori “Polesine focused on the agricultural one A territory that has made an abandoned and enemy Delta a land of malaria first and pellagra later one of the most coveted and important wetlands in Europe recognized by UNESCO as a Biosphere Heritage Site Which has also been able to qualify the heritage of its sea with mussel farming and fish farming of excellence Which was driven by that tragedy to respect And that it has begun again to look at globalization it was one of the meeting ganglia of the world’s trade networks These seventy years have certainly not lacked distortions and errors a physiological result of the times and the legitimate need for work and prosperity But as a whole this territory today constitutes an environmental and human heritage elsewhere lost A heritage that today allows Polesine to continue planning for a quality future.” Image: A photojournalist with his camera walks through water during a flood in the Polesine countryside; behind him in the distance a cameraman with a camera 1951 ©Archivio Publifoto Intesa Sanpaolo New dates have been announced for Even My Russia Will Love Me, the monographic exhibition dedicated to Marc Chagall and hosted by Rovigo’s Palazzo Roverella.Curated by Claudia Zevi and will showcase more than one hundred works by the artist including about seventy paintings on canvas and paper and the twenty plates illustrating his autobiography Ma Vie and Gogol’s The Dead Souls Other works on display are The Walk(pictured) The goals of the exhibition are to delve into the influence of Russian popular culture on Chagall’s production and to reflect on the artist’s important role in the history of twentieth-century art The title of the exhibition refers to the last words Chagall wrote for his autobiography Ma Vie published in Berlin at the beginning of his exile from Russia For all information you can visit the official website of Palazzo Rovella Contact centre for information and bookings Monday to Friday 9.30-18.30 Saturday 09.30-13.30 049 663499gestione2@studioesseci.net is the new appointment with international photography proposed by the Fondazione Cassa di Risparmio di Padova e Rovigo once again in collaboration with the Municipalità di Rovigo and the Accademia dei Concordi which follows Robert Doisneau’s recent one in quality and originality presents 366 photographs selected from the archives of the Magnum Photos agency and traces the main stages of his career giving the right space to some of the most iconic works that have embodied the history of twentieth century photography it is not conceived only as a retrospective of Robert Capa’s work but rather aims to reveal through the images proposed the facets the minimal folds of a passionate and ultimately elusive insatiable and perhaps never fully satisfied character who does not hesitate to risk his life for his reportages Capa has always shown a player’s temperament Considered the greatest war photographer in history among the photographs on display there will be war images that forged the legend of Robert Capa the exhibition will not be limited to these shots or to a retrospective of Capa’s work In an attempt to restore the complex dimension of Capa’s work the exhibition revolves around its subject bringing together multiple points of view of the same event on different occasions as if to reproduce a shot-reverse shot movement restoring in this way a cinematic breath often perceptible in many sequences In the alternation of “weak times” and “strong times” that characterize the nine thematic sections of the exhibition Robert Capa’s identity emerges: his sensitivity towards victims complicity and empathy of the artist with respect to the subjects portrayed in which he mostly operated and distinguished himself The exhibition is also enriched by the publications of Robert Capa’s reportages in the French and American press of the time extracts from his theoretical texts on photography and a film by Patrick Jeudy dedicated to the photographer as well as the sound recording of an interview by Capa on Radio Canada All images are protected by copyright © Robert Capa © International Center of Photography/Magnum Photos John Steinbeck and Robert Capa reflected in a mirror.USSR Through photography he was able to speak to all of us He never considered his photographs as art – as well as a great personal stake in the outcome of the struggle against fascism – it was entirely natural that he should be drawn to political reportage it was natural too that he should follow through and cover the fighting.Richard Whelan An Italian soldier straggling behind a column of his captured comrades by a body of professional photographers sent to the front lines and bombed cities whose shots were immediately published in newspapers and periodicals both in Spain and abroad Close to Chiang Kai-shek and the Chinese nationalists and therefore very far from the communists Henry Luce’s magazine intended to mobilize American public opinion in favour of the nationalist camp defending China’s independence against Japan The first wave of American troops landing on D-Day,Omaha beach The first Rosh Hashanah service to be held in a synagoguein the city since 1938 and rubbing shoulders with the fashion world The social center of the Collective farm.Ukrainian Soviet Republic It must be said that Steinbeck and he came up with the great idea of defining the theme of their journey as “people are the same everywhere” A teacher in a Yeshiva or orthodox learning academy reads aloud to childrem from the Talmud Himself essentially a stateless person and perpetual refugee by temperament and profession Capa was dismayed by the plight of these reluctant internees but he was also fascinated by the whole process of assimilating the immigrants into the life of the new nation in whose overcrowded cities there were neither jobs nor apartments for them Read all The first Rosh Hashanah service to be held in a synagogue in the city since 1938.Berlin Contact centerfor information and bookings:Monday to Friday 9.30 - 18.30Saturdays up to the Vienna and Munich Secessions to end their ascendancy with the glow of the Grade War transforming into a more generic cult of the Orient during the 1920s and 1930s which exploded around 1860 and was destined to last at least another fifty years first involved the wealthy international bourgeoisie but above all two entire generations of artists gradually finding more and more strength with the grafting of the nascent culture and Art Nouveau and modernist increasingly attentive to the decorative and rigorous values of Japanese art The slant that Francesco Parisi has chosen to describe this page of European and world art history in the exhibition intends to map Japanist trends in Europe between the 19th and 20th centuries: from Germany to Holland In the four broad sections in which the narrative unfolds the curator places side by side originals and derivatives works chosen from among those that arrived from Japan and became the object of passion and study in Europe alongside works that of these “finds” highlight the profound influence These are paintings and graphics but also architecture of how capillary and profoundly that Japanism entered the body of old Europe and Francesco Paolo Michetti with his masterpiece The Gathering of Gourds; and also the French Pierre Bonnard Maurice Denis and Emile Gallé; and the Belgians Fernand Khnopff and Henry Van De Velde The exhibition is organized at the initiative of the Fondazione Cassa di Risparmio di Padova e Rovigo with the Municipality of Rovigo and the Accademia dei Concordi Landscape with Mount Fuji (1908; Courtesy Daxer & Marschall Gallery There are few epochs and artists that have managed to impose themselves in the collective imagination like the Belle Époque and Henri de Toulouse-Lautrec is recognized even by those who have little familiarity with art The new exhibition for spring 2024 at Palazzo Roverella focuses precisely on Henri de Toulouse-Lautrec it is not the "usual exhibition" on the post-impressionist artist whose celebrity is mainly due to his role as a poster artist in Belle Époque Paris it is an international exhibition project that once again renews the synergistic collaboration between the Cassa di Risparmio Foundation of Padua and Rovigo with the decisive support of Intesa Sanpaolo whose cultural awakening is driven by the commitment to bring top-notch artists and curatorial teams capable of attracting tens of thousands of visitors thus becomes the stage for an event that aims to restore Toulouse-Lautrec to the status of a great artist deserving a prominent place in the history of late 19th-century art The exhibition "Henri de Toulouse-Lautrec" features the artist born in Albi in November 1864 as its protagonist but also other artists whom he had the opportunity to associate with in the Paris of those years They were intoxicated by a lifestyle that found entertainment in venues like Le Chat Noir but also consumed by human dramas and devastated by the abuse of absinthe until the outbreak of the First World War marked its end Below are the key points of the exhibition Fanny Girard (director of the Toulouse-Lautrec Museum in Albi) Toulouse-Lautrec's great-nephew and closest living relative who was also present at the exhibition's inauguration These are the aspects visitors must not overlook And he did so with a new stylistic approach which he dedicated to art and the representation of the human comedy of his time The exhibition presents connections with other contemporary artists such as Gauguin and Degas, but also Boldini, and showcases works such as "Pornocrates" by the Belgian painter Félicien Rops, painted when he lived in Paris. Rops led a controversial, nonconformist life and focused his work on themes particularly provocative for Catholic believers, related to eroticism, death, and Satanism.... read the rest of the article» Not to be forgotten is the literary context important for understanding the society depicted in the drawings and paintings on display has described an interesting parallel between Marcel Proust and the artist who never met despite living in the same era and frequenting the same places but who looked at and represented common subjects in different ways Essential to the success of this ambitious exhibition project is the involvement director of the Toulouse-Lautrec Museum in Albi with the collaboration of Nicholas Zmelty (Posters and Engravings section) The scale of the loan from the Museum of Albi especially compared to previous exhibitions organized in Italy both youthful and mature works of the artist are displayed showcasing Toulouse-Lautrec's immense talent as both a draftsman and a lithographer totaling 60 works out of the total 200 exhibited The exhibition at Palazzo Roverella dedicates a room to the group of Peintres du Petit Boulevard and to the small exhibition organized by Vincent Van Gogh in November 1887 in contrast to the more established Impressionists of the Grand Boulevard (also read our article on the major exhibition on Van Gogh in Trieste) many of the artists involved exhibited scenes of brothels resulting in very little success for the initiative The second major protagonist of the exhibition can only be Paris but the emergence of new venues like Le Chat Noir the first artistic cabaret founded in 1881 by Rodolphe Salis and the pursuit of entertainment were indeed the great novelties of those years but it was only with the cabaret venues that spaces opened up where artists and poets gathered to make music and recite poetry there is also space to remember the shadow theater performances staged at Le Chat Noir which became a significant phenomenon with tours even abroad Many notable figures of the time passed through that cabaret To narrate a fundamental and socially dramatic aspect of that era a room in the exhibition is dedicated to absinthe the beverage whose consumption grew enormously in Paris until it was banned in 1914 the narrative includes paintings and drawings depicting women and men drinking it or under its influence was promoted by associating it with seductive female images becoming the Bohemian emblem of artists and poets Even Degas and Van Gogh made ample use of it Another very important section of the exhibition is dedicated to an artistic movement that departed from tradition in the early 1880s This is the "Arts Incohérents" (Incoherent Arts) an artistic movement founded by Jules Lévy in 1881-82 a time when the traditional annual Salon was entering a crisis The Incoherent Arts aimed to be a sort of burlesque and parodic counter-Salon combining artistic expression with a form of public entertainment often with works not even created by true artists people linked to the world of the press and theater denounced the art and customs of their time Well-orchestrated advertising campaigns and a benevolent press contributed to the success of these events albeit also arousing strongly adverse reactions the works of the Incoherent Arts seemed to have disappeared and only a few years ago (2018) a group of these works was rediscovered deemed so precious that they were declared a national treasure and thus never exported and exhibited to the public before today It is therefore an absolutely precious opportunity that deserves great attention from visitors Here you can admire what can be considered the first monochrome in history as well as a work created with a curtain that seems to anticipate Duchamp's ready-made a section dedicated to illustration and those advertising posters that made Toulouse-Lautrec a sort of star in that art could not be missing The exhibition devotes adequate space to the theme Also displayed is a precious lithographic stone rare because to prevent unauthorized reproductions the artist used to destroy or scrape the matrices after printing If we've convinced you that the exhibition is worth visiting be sure to read the other information on the event's page Resta aggiornato su eventi ed esposizioni d'Arte e Design organizzati in Italia Accetto l'informativa sulla privacy e di ricevere le newsletter Scarica ItinerApp Eoin Griffin will make his London Irish debut on Sunday for the round one European Challenge Cup fixture against Rovigo Delta at Madejski Stadium (kick-off 3pm) Griffin will partner Eamonn Sheridan in the centre with Alex Lewington Tom Fowlie and Topsy Ojo in the back three Tomás O’Leary will captain the side at scrum half with Myles Dorrian at fly half Jimmy Stevens and Geoff Cross make up the front row with Dan Leo and Dave Lyons in the second row Brian Smith said: “It's exciting to be playing in the new ERCC tournament and we're are very keen to perform well in our group with a view of having a good Cup run Sunday’s match will be a physical contest Rovigo have done very well to qualify and have a squad full of players that can cause us problems so we have prepared accordingly for that.” Privacy Policy Manage My Data