Polisportiva A. Galli San Giovanni Valdarno – Logiman Broni 67 – 76 (22-19, 43-40, 54-49, 67-76) POLISPORTIVA A. GALLI SAN GIOVANNI VALDARNO: Rinaldi NE, Degiovanni 16 (1/2, 4/5), Rossini* 9 (1/4, 1/3), Faustini* 11 (3/5, 1/7), Lazzaro*, Sposato NE, Mioni 9 (4/7, 0/2), Stroscio 6 (2/4, 0/1), Cruz Ferreira* 11 (1/5, 3/5), Amatori, Di Fine NE, De Cassan* 5 (1/1, 0/3). Coach: Garcia Fernandez J. 2pt FG: 13/30 – 3pt FG: 9/29 – Free Throws: 14/16 – Rebounds: 31 6+25 (Cruz Ferreira 14) – Assists: 13 (Rossini 4) – Steals: 9 (Degiovanni 2) – Turnovers: 16 (Policari 4) – Five Fouls: Cruz Ferreira LOGIMAN BRONI: Nasraoui* 16 (6/11, 1/4), Frigo NE, Carbonella NE, Reggiani* 16 (2/4, 3/6), Baldelli* 9 (2/10, 1/2), Scarsi 7 (1/2, 0/1), Hartmann* 19 (4/10, 3/5), Buranella, Lisoni NE, Morra* 9 (2/6 2-pointers), Merli NE. Coach: Diamanti M. 2-pointers: 17/43 – 3-pointers: 8/19 – Free Throws: 18/25 – Rebounds: 46 14+32 (Nasraoui 10) – Assists: 11 (Reggiani 6) – Steals: 8 (Reggiani 3) – Turnovers: 17 (Reggiani 5) A longtime tradition for the Corning-Painted Post school district will return Wednesday as eight students and three teacher chaperones will visit San Giovanni Valdarno said the Corning-San Giovanni Sister Cities Association will depart from the Elmira-Corning Regional Airport Wednesday night and the students will return to the Southern Tier Sunday “I'm very excited to go,” said Sydney Layton I'm really excited to be able to experience this firsthand I'll actually get to see and experience first-hand how Italian students live their life and how different it is from ours.”  C-PP 11th grade student and Sister Cities member Richard Rosetti said he is excited to go to Italy “I've been to Italy before when I was a little kid “I can’t wait to go back to see part of Italy I’ve never seen before.”  Ball said Sister Cities students and teachers will be staying with host families Italian students and teachers that were in Corning in October Licei Giovanni in San Giovanni Val-darno and ISIS Valdarno “I believe this is the 18th year of exchange between the schools,” Ball said “Our Italian delegation has created a wonderful itinerary for our visit which includes stops in Florence Siena and other places of interest in the Tuscan Region.”   More: Six bowlers register honor scores at Crystal Lanes. See who led the lanes in Corning. The Corning Sister Cities Association was established in 1987 to “Promote peace through mutual respect Corning currently has three Sister Cities: Lviv Cookie policy TOSCANA TODAY web magazine – Informazione e cultura A new chapter of the Sangiovese Festival is coming the market fair dedicated to the undisputed king of red wines in central Italy returns to San Giovanni Valdarno which brings with it the scent of the vineyards the warmth of the earth and stories just waiting to be told in collaboration with Confcommercio Firenze-Arezzo and with the patronage of the Tuscany Region and the contribution of the Arezzo-Siena Chamber of Commerce organizes the second edition of the Sangiovese Festival the event that aims to promote and taste the wine from the vine the undisputed king of reds from central Italy The second edition has been presented today by the President of the Region Eugenio Giani by the President of the Valdarno Nord delegation of Confcommercio Paolo Mantovani by the Deputy Secretary General of the Chamber of Commerce Mario Del Secco and by the curator of the festival Marco Talladira “After the wine previews which are aimed at operators in the sector – said the president Eugenio Giani- here are the celebrations with the citizens with its square lends itself to this event with an extraordinary setting that will offer the mother grape of the wine that later became famous throughout the world: the Sangiovese that inspired Chianti and which is then divided and differentiated into various types Sangiovese is heard of for the first time in 1590 with Giovan Vettorio Soderini who defines it as a “juicy grape and full of wine” and then in the eighteenth century and is also reproduced in canvases still preserved in Florence A “his majesty” grape to which it is right and beautiful to dedicate a popular festival like this that combines the valorization of the territory “After last year's extraordinary success – the words of the mayor of San Giovanni Valdarno Valentina Vadi – we hope that this second edition of the Sangiovese festival can bring even more people to the city The formula is the same but with a greater number of wineries and producers who will participate The two main squares of San Giovanni will be the hub of this fresh and dynamic event conferences with names of national importance starting with Umberto Galimberti who will be a guest of our city Thanks to Confcommercio who organizes the Sangiovese Festival together with the municipality to the curator of the initiative Marco Talladira and to all the sponsors who have given their contribution to the success of the event” “The Sangiovese Festival – underlines the director of Confcommercio Toscana Franco Marinoni – represents an extraordinary opportunity to enhance the link between territory tradition and local agri-food supply chain To present yourself on the international tourist market with all the right credentials you need to have a clear and recognizable identity passions and values ​​of an audience that is increasingly attentive to the quality of the experience San Giovanni strengthens its positioning as a destination for good living: a perfect balance between nature An idea of ​​slow living that feeds on respect for the history and cultural heritage of the territory starting from the origin of the name and the place chosen for the event Among the most accredited versions for the etymology of Sangiovese there is in fact the one according to which the name derives from “San Giovanni” One version says that Sangiovese is in fact “the grape of San Giovanni Valdarno” indicating the upper valley of the Arno as the place of origin of the vine Another version traces the name back to the period of the year in which this grape sprouts: that is when the feast of San Giovanni Battista falls Over 80 companies coming not only from Tuscany Lazio and over 400 wines for tasting and purchase in the buildings and in the various locations events tastings and masterclasses will be organized Wine lovers will be inebriated by a young and inclusive context They will have the opportunity to both taste and buy wines as well as interact with producers in an informal context Citizens and tourists will also be able to taste the wines during masterclasses and events scattered around the city There is also great anticipation for the spectacular lawn of real grass of over 600 square meters which will be installed in Piazza Masaccio with centuries-old vines and olive trees where the Meganoidi will also perform as an unplugged duo for a live concert on Saturday 12 April This is an example of a Vimeo video embedded via WPZOOM Video Widget As a global market leader in e-mobility solutions the $30 million investment in this new facility is further evidence of ABB’s continued commitment to driving innovation in this fast-growing sector It follows a $10 million investment in a new fully sustainable global e-mobility headquarters and Research and Development (R&D) center 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Learn more I agree Giovanni da San Giovanni returns to his home town with an exhibition in the "Lands of the Uffizi" seriesGiovanni da San Giovanni is coming home to the Valdarno: the enduring bond between the artist and his homeland so strong that he is even named after his native city is to be celebrated in a new exhibition in the Lands of the Uffizi series entitled "A bizarre and whimsical temperament’ Giovanni da San Giovanni a maverick painter at the Medici court" The exhibition takes the shape of a journey exploring the art of this neo-Mannerist painter in ten tondos painted on terracotta tile Running from 8 October 2023 to 31 March 2024 it is hosted both in the Museo delle Terre Nuove and in the Museo della Basilica di Santa Maria delle Grazie by the Fondazione CR Firenze and the Gallerie degli Uffizi in the context of their respective Piccoli Grandi Musei and Uffizi Diffusi schemes One of the Medici family’s favourite painters stands out from the sombre virtuosity of his own century’s movement thanks to the airy lightness of his brushwork and his soft His neo-Hellenistic taste and irreverent sense of humour together with his skill in working “fast and well” can be appreciated in the tondos on display in the exhibition in a vibrant flow of delicate luminous forms that will turn the visitor’s enjoyment of his paintings into a positively ethereal experience The unique technique of painting in fresco on terracotta tile which accounted for the artist’s popularity and which is the leitmotif of the exhibition points up the light quality of Giovanni da San Giovanni’s work thanks to the material’s filmy texture and to the sculptural nature of the circular format that smoothes and softens the entire painted scene The artist’s subjects of choice come from mythology and he handles them with a witty verve as in the case of the tondo depicting Aurora and Tithonus in which the youthful carefree goddess looks on almost in amusement at the decline of her ageing husband weary and worn out by the onset of old age But Giovanni’s feeling for the refinement of mythology goes hand in hand with a typically Tuscan taste for brazen provocation to which he gives free rein in his fresco of the Emasculation scene in which a group of women is busy getting its own back on a Satyr His fresco painting earned him the admiration of prestigious patrons in both Florence and Rome thus enabling him to cultivate a close tie with the Grand Dukes It was for the Medici family that Giovanni painted one of his first works in Florence the decoration of the Sala degli Argenti in the Pitti Palace which his premature death prevented him from completing built around the relationship between the artist and a member of the Medici family Grand Duke Ferdinand I’s son Prince Don Lorenzo will be displaying for the first time the full set of eight tondos that Giovanni da San Giovanni painted for the Villa di Petraia c along with two further tondos that he painted for the Villa di Pratolino and other works connected with these commissions  The other aspect on which the exhibition focuses is the painter’s natural link with the town of San Giovanni Valdarno and the works by Giovanni and other artists close to him that are still housed here: first and foremost the paintings in the Museo della Basilica di Santa Maria delle Grazie This museum’s collection includes one of the artist’s few canvases commissioned by the members of the Compagnia di San Giovanni Decollato for their altar in the church of San Lorenzo The same period in his career is conjured up by two lunettes frescoed in 1621 at the top of the two staircases in the Oratory of Santa Maria delle Grazie with scenes of the Annunciation and the Marriage of the Virgin Today the museum hosts the original version of the Marriage of the Virgin which was discovered during restoration by the Soprintendenza in 1953 which tell us that Giovanni was back in his the city of his birth between 1620 and 1621 testify to his major role in the complex restructuring and embellishment of the Oratory that got under way in the 17th century John the Baptist will be juxtaposed with another of Mannozzi’s canvases depicting the Circumcision from San Bartolomeo in Cutigliano a work also dated 1620 though not widely known to the general public Visitors will also be able to admire a masterly work from a private collection entitled The Paupers’ Kitchen and the coat-of-arms of the Mannozzi family while his skill as a fresco painter is further borne out by an exquisite small work from Mina Gregori’s private collection depicting St Giovanni was to return to his home town again in the 1630s Joseph with the Baby Jesus which is still part of the museum’s collection today Bizzarro e capriccioso umore’. Giovanni da San Giovanni, pittore senza regola alla corte medicea Stanislao Pointeau. A Tuscan "macchiaiolo"of French descent. An exhibition dedicated to Prof. Carlo Del BravoExhibitions The Medici: Mugello Folk. Family portraits from the Gallerie degli UffiziFrom 19 May to 5 November, four works from the Uffizi Galleries bring back the Grand Dukes in the country and towns of the Mugello, the family’s legendary homeland. A bizarre and whimsical temperament. Giovanni da San Giovanni, a maverick painter at the Medici courtGiovanni da San Giovanni returns to his home town with an exhibition in the "Lands of the Uffizi" series The Ceramics of Montelupo and the Uffizi. A gallery of comparisons"Lands of the Uffizi" comes to Montelupo for the first time Embattled thinkers. Fame and oblivion of two men of letters, from the Battle of Anghiari to the siege of FamagustaThe Museo della Battaglia e di Anghiari is to host a new exhibition in the Lands of the Uffizi The Fabulous '60s in the Maremma. The mark of Ico ParisiThe splendour of the fashionable clothes of the Museum of Fashion and Costume of Pitti Palace 'parades' in Grosseto to recreate the dynamism and effervescence of the society of Southern Tuscany in the post-War period. The paintings of Jacopo Vignali, from the Gallerie degli Uffizi to San Casciano In memory of Carlo Del Bravo Masaccio and Fra Angelico. A dialogue on truth in paintingMasaccio returns to his birthplace, Castel San Giovanni, in a dialogue with Fra Angelico La predella degli Uffizi salvata al Castello di MontegufoniThe return to Montespertoli of the Gallerie degli Uffizi predella Nel segno della vita. Donne e Madonne al tempo dell' attesaAn exhibition devoted to the portrayal of the motherhood Pietro Benvenuti in the Age of Canova. Paintings and drawings from public and private collections The first “Lands of the Uffizi” exhibition to be held in Arezzo explores the work of painter Pietro Benvenuti in the age of Canova The Warrior Pope Giuliano Della Rovere and Anghiari’s Soldiers of FortuneThe link between the Warrior Pope Giuliano Della Rovere and Anghiari’s Soldiers of Fortune Giottesque Painters in the ValdelsaTwo versions of the Madonna and Child juxtaposed for visitors to discover Lippo di Benivieni and the followers of Giotto in the Valdelsa "The Final Seal". The Stigmata of St. Francis at La Verna from the collections of the Gallerie degli UffiziThe Pinacoteca Comunale di Castiglion Fiorentino and the Gallerie degli Uffizi trade two masterpieces The Civilisation of Arms and the Courts of the RenaissanceAn exhibition in Anghiari telling the story of the Renaissance courts and of the men who peopled them, amid war and culture. In the Name of Dante. The Casentino in the Divine ComedyDante returns to the castle of Poppi, where the Casentino inspired the Divine Comedy Dante and Andrea del Castagno Return to San GodenzoThe fresco of Dante painted by Andrea del Castagno in the place where the painter was born and where the poet's exile began pittore senza regola alla corte medicea" Museo delle Terre Nuove Museo della Basilica di Santa Maria delle Grazie Sunday and holidays10.00 AM - 1.00 PM / 3.00 - 7.00 PM One ticket admits holder to both exhibition venues and to the twomuseums After the important exhibition in Reggello for the six hundredth anniversary of the Triptych of St another review delves into the figure of Masaccio (San Giovanni Valdarno in dialogue with another Renaissance protagonist set up in two locations: at the Museo delle Terre Nuove and at the Museum of the Basilica of Santa Maria delle Grazie The exhibition is part of Terre degli Uffizi a project of the Uffizi Galleries and Fondazione CR Firenze within their respective projects Uffizi Diffusi and Piccoli Grandi Musei Promoted by the Municipality of San Giovanni Valdarno and curated by Michela Martini Carl Brandon Strehlke and Valentina Zucchi the Valdarno exhibition presents a selection of works that allow visitors to delve into the innovations that Masaccio and Angelico offered to the history of art putting them in relation with other artists close to them and enhancing their connection with the city and the territory.On display at the Museo delle Terre Nuove is a selection of works centered on the figure of Masaccio related to the iconography of the Madonna and Child These are two masterpieces from the Uffizi Galleries: the so-called Casini Madonna a small panel painted by Masaccio for the Sienese clergyman Antonio Casini that depicts Mary with the baby in swaddling clothes to whom she tenderly tickles which shows Mary intent on suckling the baby Jesus based on the iconography of the Madonna of Milk the public will find the work of Masaccio’s brother Giovanni di ser Giovanni as well as the Madonna and Child from the workshop of Lorenzo Ghiberti These works are accompanied by an in-depth look at the figures of Mariotto di Cristofano his collaborator and at the same time sensitive to Angelico’s taste The exhibition section at the Museum of the Basilica is dedicated to Angelico where works by the artist from public and private property are located with a special focus on the theme of theAnnunciation Here they will encounter Beato Angelico’sAnnunciation a reliquary from Santa Maria Novella and commissioned to the painter by Dominican and sacristan Giovanni Masi the artist now reveals full adherence to Renaissance novelties depicting the mystery of the incarnation through real Entirely human is the crossing of glances between the divine messenger and Mary caught in the most earthly moment of welcoming the angel’s announcement into her womb Also by the friar painter is the preparatory drawing from the Drawings and Prints Cabinet of the Uffizi Galleries as he beats his bare chest with a stone and turns his moved gaze probably toward the Crucifix who appreciated his authenticity of life and faith “Dialogue” therefore wants to be the key word of this valuable exhibition which offers the opportunity to admire refined masterpieces to observe their mutual influences and to reflect on the highest and deepest components of artistic representation “In this 2022,” says Uffizi director Eike Schmidt “interest in the early Tuscan Renaissance glorified and studied in so many initiatives Under this aegis opens the San Giovanni Valdarno exhibition Dialogue on Truth in Painting.’ The common thread is the relationship with the territory and in particular the local community The exhibition itinerary offers a selection of works from the early 15th century linked to the Valdarno territory by destination (Annunciation by Beato Angelico predella by Andrea di Giusto) or the origin of the authors (Masaccio reconstructing an ideal panorama of Florentine art at the dawn of the Renaissance From the Uffizi come absolute masterpieces: above all one recalls Masaccio’s moving Madonna del solletico.” “Yet another highly stimulating and unprecedented confrontation between two giants of our early Renaissance and a new opportunity to enhance an area and its treasures that are less known to the general public as is in the spirit of the project,” stresses Luigi Salvadori these events offer not only the knowledge of works of dazzling beauty but are an opportunity to get in touch with environments and suggestions that are among the new peculiarities of post-covid tourism as indicated by the most qualified operators is the trend of the moment and Tuscany is the undisputed queen for this type of offer.Terre degli Uffizi perfectly intercepts this new trend that has greatly increased the attendance in the venues involved in the first cycle and is having the same multiplier effect in the first exhibitions of the second edition." “For the City of San Giovanni Valdarno,” says Mayor Valentina Vada “it is an honor and a privilege to be part of Terre degli Uffizi because finally we are able to bring Masaccio back to his native land (after the last exhibition dedicated to him in 2001 on the occasion of the 600th anniversary of his birth Masaccio and the Origins of the Renaissance) in an exhibition organized in collaboration with Le Gallerie degli Uffizi and Fondazione CR Firenze And why certainly the exhibition ”Masaccio and Angelico Dialogue on Truth in Painting,“ as we hope will attract visitors and tourists constituting an important tool of enhancement and promotion for our municipality and the entire Valdarno as well as an opportunity for the economic operators of the area I am convinced that the great effort made by the Municipality of San Giovanni Valdarno will be rewarded and will serve to make known a city that is a small jewel in the heart of Tuscany and that has the ambition to stand alongside with its characteristics and peculiarities the best-known and largest cities in the Region The link between San Giovanni Valdarno and the Uffizi Galleries will not end with the exhibition on Masaccio and Angelico but will continue with a project of long-term loans of works that will be housed in the Museo delle Terre Nuove.” Pictured is Beato Angelico’sAnnunciation Prada Spring/Summer 2025 Womenswear campaign: Carey Mulligan Acts Like Prada A longtime tradition for the Corning-Painted Post school district will return this month less than a month prior to the start of the COVID-19 pandemic and local officials will visit San Giovanni Valdarno committee chairman of the Corning-San Giovanni Sister Cities said the trip will mark the 17th student exchange program Corning City Mayor Bill Boland and his wife will depart the Elmira-Corning Regional Airport Feb Students and teachers will be staying with host families and attending a new exchange school “We will also re-create our signing of Sister Cities agreements between the city mayor while we are there,” Ball said Rome and other places of interest in the Tuscan Region.”  More: Kmart was once ubiquitous across Southern Tier. What has become of former stores today? Boland said participating in these committees and related activities is a unique opportunity for local citizens to appreciate global connections The Corning Sister Cities Association welcomed a delegation from San Giovanni Valdarno Italy visiting Crystal City in May of 2023 the City of Corning and San Giovanni Valdarno have shared a special bond as sister cities Since the news of Pope Francis' passing Students and teachers from Corning Painted Post High School visited Italy this past February.  On their trip they got the chance to visit St Peter's Basilica in Vatican City and get a tour from one of Pope Francis's friars.  The group was able to touch the foot of St and learn more about the history of the area The chairman of the Sister City Committee says this was an unforgettable experience and one they were so grateful to have.  Now the sister cities are reaching out and showing support after Pope Francis's death "They're pretty shaken in San Giovanni I just got a message from the mayor and the deputy mayor there that said the whole country of Italy is shaken They're very proud of Pope Francis and what he's done for not only Italy but also the world just being a very humble and a pope of the people," said Tim Ball Chairman of the San Giovanni Corning Sister Cities Committee.  "They're not only our friends so when something like this happens to them (PRINCETON, NJ) -- On Sunday, April 7, 2024 at 4:00pm, Altamura Legacy Concerts (ALC) at Princeton United Methodist Church presents the final concert of its exceptionally well received first season which presented over thirty distinguished artists from Princeton New York and Italy side by side with students from Legacy Arts International's All-Abilities and Youth Ambassadors of Excellence in five concerts where over-flow seating was necessary to welcome enthusiastic audiences The closing concert features J.S. Bach’s monumental Goldberg Variations performed by Italian pianist Andrea Turini. Admission is $40, $10 for students, cash at the door or reserved seating purchased online The church is located on Nassau Street at Vandeventer Avenue Doors are at 3:30pm with a pre-concert and welcoming Coffee/Tea Bar in the venue organized by Illy At Earth’s End “I especially love playing and listening to Bach in early Spring as a sort of cleansing for the soul and Andrea Turini’s USA tour in April with the Goldberg Variations provides us with the perfect opportunity to bring him to our Princeton audiences to close the season,” says Cristina Altamura This mammoth set of variations is not only beloved among pianophiles but also a favorite with cinephiles as it has been used in classic and cult films such as The English Patient Andrea Turini will follow his Princeton appearance with a concert at the Italian Cultural Institute on Park Ave Turini is a winner of various international piano competitions most significant of which are the first prize at the 7th international competition “Citta di Roma” and at the 11th international competition “Ibla Grand Prize” where he was also awarded a special mention for the best interpretation of Bach and Ravel He has made a brilliant career performing in the main Italian cities as well as in Spain He teaches at the Conservatory “Gioacchino Rossini” in Pesaro and is also the artistic director of the Accademia Musicale Valdarnese and International Piano Competition Humberto Quagliata Città di San Giovanni Valdarno the appearance of several distinguished Italian pianists and professors in Princeton is directly thanks to ALC Artistic Director and pianist Cristina Altamura founder of the immensely influential Imola Piano Academy Altamura created a cultural exchange between the Italian academy and the Music Department at Princeton University Connecting both institutions allowed her to introduce young pianists to Italy’s historic role as the birthplace of the piano (by Cristofori) and the Imola Piano Academy “Encounters with the Masters” as a hotbed of pianistic excellence A portion of proceeds from tickets supports and funds Legacy Arts International’s music educational programs such as the All-Abilities Music Creation Project which commissions new pieces of music for students whose educational needs are not being met by the current repertoire and pedagogy for their instrument due to factors which could include a disability Students are then presented alongside LAI’s Youth Ambassadors of Excellence in pre-concerts to open for headlining guest artists of the concert series Altamura Legacy Concerts is a new concert series developed in 2023 by pianist and artistic director Cristina Altamura featuring herself and a roster of guest artists performing on a newly restored 1924 Steinway B grand piano at Princeton United Methodist Church home of the majestic Tiffany stained-glass window depicting St Concerts are on selected Sundays at 4:00pm in the Sanford Davis Room of Princeton UMC Guest artists range from some of Italy’s and Russia’s most illustrious piano masters to Princeton’s own community of distinguished pianists for an informal talk at the beginning of each program Registered as Inter-Cities Performing Arts, Inc. 501©3, Legacy Arts International is a Princeton-based non-profit musical arts organization which facilitates cultural exchange initiates performances and educational programs to build vibrant artistic communities In recognition of the cultural impact and enrichment the series brings to the Princeton area community Altamura Legacy Concerts is proudly supported by Jacobs Music Company one of the nation’s most respected piano merchants and the Tri-State region’s exclusive Steinway dealer representative for new and certified pre-owned Steinway & Sons pianos the company that manages water infrastructure in the Medio Valdarno area in Tuscany (central Italy) has awarded ACCIONA Agua a contract to maintain and upgrade the water and sewage networks in several municipalities within the region ACCIONA Agua will serve 18 municipalities and approximately 171,000 inhabitants in the areas of Mugello and Valdarno in the province of Florence (municipalities of Pontassieve with the possibility of a one-year extension and has a total budget of 35 million euros ACCIONA Agua will handle regular and special maintenance of water and sewage infrastructures including 24-hour emergency operations and extraordinary repairs The agreement also provides for upgrade and renovation work on existing water and sewage networks In order to ensure the system's efficiency and functionality ACCIONA Agua will incorporate a comprehensive management system based on new generation SAP software that will optimise operations and material supplies the company in charge of the integrated water system in Florence has been managing the end-to-end water cycle in the Medio Valdarno area a key territory in the socio-economic development of the Tuscany region This area concentrates nearly one-third of the total region's population and includes 46 municipalities in four different provinces ACCIONA Agua's presence in Italy dates from 1999 and it has extensive experience in the country in both construction and operation and maintenance of water treatment infrastructures ACCIONA Agua currently has a portfolio of more than 40 projects desalination and waste water treatment plants It provides services to more than 2.5 million people in Italy and has over 345 employees in the country Among the most emblematic projects of the last few years are the modernization of the water treatment plant in Florence one of the largest in Italy and the modernization of a treatment plant in the north of Milan one of the most important regions of Northern Italy the service of maintenance and improvement of the sewerage and supply networks of the province of Turin the company operates modular desalination plants under a 10-year drinking water supply contract The company also carried out major sewage treatment projects in such regions as Sardinia the company built the extension of the Guidonia sewage treatment plant in Rome (serving 45,000 people) and the biofiltration plant in Scicli as well as upgrading several plants in Bari I accept Information on data protection In compliance with Regulation (EU) 2016/679 on Data Protection and with other Data Protection regulations in force you are hereby informed that your personal data shall be processed by Acciona whose identification data are as follows: Tax ID No (NIF): A08001851; Address: Avenida de la Gran Vía de Hortaleza No.: +34 91 663 28 50; email: protecciondedatos@acciona.com Your data shall be processed in order to send you information through the subscription to our Newsletter through electronic means activities and news pertinent to our activity sectors The consent given by the data subject by indicating that they have read and accept this data protection information comprises the lawfulness of processing the subscription Request cannot 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Furthermore, at any time the data subject may withdraw the granted consent by contacting the aforementioned address and file a claim to the Supervisory Authority (Agencia Española de Protección de Datos www.aepd.es) You can also unsubscribe from the Newsletter communication For any further information you can visit the Privacy Police on the website https://www.acciona.com/privacy-policy/ and staff as well as colleagues and connections in Italy coordinated travel and host housing through our Sister School in San Giovanni Valdarno which included museum and archeological site entrance fees and several amazing meals Students in the travel group also signed on to take a weekly course about Italy we dubbed the “Italian Café.” The class focus was broadly cultural and historical and included how to conduct oneself in accordance with social norms The class even offered a taste of the Italian language The persistent if quietly uttered question over the value of an international journey to Southern Europe for 14-year-olds has become less pronounced over time After ten years and eight trips with Martha’s Vineyard Public Charter School students I am convinced that the annual Italy trip is an extraordinarily powerful journey and an experience not wasted on the young the pace and sheer distances covered on foot The students gather insights and experiences that will last them a lifetime They discover that Italian people are welcoming the highlight of the trip was a visit with families in San Giovanni Valdarno a town of about 18,000 people about 30 miles southeast of Florence The students spent two nights with Italian families and attended school on Friday and Saturday The Charter School students participated in math games and technology classes at our sister school the Istituto Comprensivo Marconi They also played basketball and indoor soccer In Sergio Traquandi’s class of third-year students (8th grade) Italian students were comfortable with Adobe Autocad One hour was spent drawing and working with professional drafting tools and the other hour was focused on using the CAD program to create a three dimensional object which would later be cut out by a lazer Student Sarah Chickering said that although I had told the students to get some rest on the night-long flight to Rome “we were so anxious and excited none of us could We were all amazed when we landed in Italy: it was so beautiful Classmate Kyra Whalen wrote that she was nervous about going to Italy but she was glad and happy that she had gone “The art and architecture were amazing and the scenery was just beautiful My host family and everyone I met there were the nicest people ever I got a lot closer to my class because we were always together.” “We stuffed our suitcases into a pile in the hotel lobby and headed out I was amazed by the architecture not only of the famous places but of the everyday shops and middle class houses I swore I would come to Rome again.” Cassius Paquet-Huff wrote that his experience in Italy “…was absolutely breathtaking Everywhere we went was unique and beautiful The rocky shores and mountains of Cinque Terre were without match in natural beauty and Florence and seeing the art that people made I’ll never forget my trip to Italy.” Delilah Meegan said she loved Florence and climbing inside to the top of the Duomo “I am very scared of heights and I overcame my fear Then after we came down we circled up and sang in the rain – “Wade in the Water” right in front of the Baptistry his favorite part “was meeting all the Italian people My pen pal’s name is Stefano Cuccoli I met a lot of people and made a lot of friends.” Cyrus Kennedy found that the hike in Cinque Terre was impressive “it was one of the coolest places I have ever been The cliffs and mountains of Cinque Terre were incredible to look at and even more to climb The towns in the mountains had some of the best food and nicest people I have ever met.” “Italy was amazing: the food was delicious especially my pen pal… the awful plane ride was worth it,” said Isabelle Crawford who had worked through a fear of flying to take the eight-hour flight to Rome and nine back from Florence accompanied the students on their trip to Italy The MV Times comment policy requires first and last name for all comments This year’s must-see shows range from a Nordic Pavilion exploring transgender spaces to a compelling Lebanese project confronting the realities of ecocide Frieze returns to The Shed in May with more than 65 of the world’s leading contemporary art galleries and the acclaimed Focus section led by Lumi Tan 'While We Were Sleeping' leans on religious allegories to depict the nihilist nature of modern anxieties Entering ‘While We Were Sleeping’ – Lewis Hammond’s solo exhibition at Casa Masaccio San Giovanni Valdarno – feels like a transgression It’s first necessary to bypass a heavy wooden door before continuing down an unlit corridor guided only by a woman’s languid recitation of ‘Death by Water’ a smaller work by the artist’s usual standards is sinking below the surface of murky waters The positioning of this work implies the viewer’s descent or rather ascent (the rest of the exhibition is installed over the first and second floors of Casa Masaccio) Eliot’s words follow us upstairs where the artist’s conflation of the Dantean and the ordinary extend across works of masterfully applied oil on canvas A graduate of London’s Royal Academy of Arts Hammond’s deft tendency toward tenebrism and frontal perspective complements the pervading Chimezie (rising and falling with the current) (2021) – typical of Hammond’s predilection for a muted earthen palette and glossy patina – a lone man bearing an obvious resemblance to the artist himself bewildered expression suggests a level of anxiety – he seems to be staring out at some ostensible threat – nevertheless his posture remains relaxed he appears to have already resigned himself to it Though deep contours trace the creases of his white t-shirt Hammond extends and abstracts his original suggestion that an unwonted refusal to depict light in a naturalistic sense when coupled with the hostility of such confrontational perspectives can generate productive moments of friction lit so that the shadows shaping her face reveal the form of her skull casts an offensive gaze out from under her brow while the second painting depicts an oneiric scene in which another man stares outward with intent as a dolphin bizarrely languishes in the image’s foreground There is a moral and spatial element to Hammond’s technique for gesture and lines of sight are wielded not as sources of nourishment Conceived following a residency during which the artist explored the history of Tuscan art ‘While We Were Sleeping’ culminates as a conjectural depiction of nihilism via the exploitation of present-day anxieties through canonical painterly modes Hammond prefers to work in a smaller format when considering individual symbols and codes combining them to make grander allegories of moral transgression The artist sometimes loans from the Biblical – in Annunciation (a change will come) (2021) typically a symbol of virtue in Christian semiotics is desecrated by the imposition of a lurking satanic which depicts a woman in a moment of apparent exorcism (in spite of her vacant expression while her feet are rendered as sore-looking toeless stumps) the artist lends from his own painterly vocabulary to create a singular vision of a contemporary purgatory Lewis Hammond's 'While We Were Sleeping' is on view at Casa Masaccio installation view. Courtesy: the Artist Thumbnail: Lewis Hammond, Annunciation (a change will come) Olamiju Fajemisin is a writer based in London From Gülbin Ünlü’s portals to alternative realities to Remi Ajani’s emotive still lifes here’s what not to miss during Various Others a group show subverts purist sculptural principles memory and tedium to inspect the hidden realities behind everyday life From Monica Bonvicini’s sculptural representations of female agency to Phung-Tien Phan’s dinosaurs that prod at consumer culture, here’s what to see this Gallery Weekend Berlin At Kunsthal Charlottenborg, Copenhagen the artist tracks what safety obscures – from state violence to the silence of forgotten stories a group show studies the variations and chance connections that form our worldview the artist’s unsettling sculptures are replete with religious imagery the artist’s silk canvases reimagine painting as a porous and philosophical practice the artist’s largest exhibition yet features miraculous paintings and drawings that will leave you feeling uplifted  a show traces how the artist’s soak-stain canvases reshaped abstraction a show of the East Village artist’s photographs and archival materials paints a picture of her queer community the artist’s sculptures challenge the ways bodies are scrutinized at nation-state borders © FRIEZE 2025 Cookie Settings | Do Not Sell My Personal Information CORNING - Seventeen-year-old Francesca Valbonesi was one of 14 San Giovanni Valdarno students who arrived in Corning a week ago who feels the trip allowed her to experience a different culture “I really liked traveling to Niagara Falls and Washington It was my first time in America and it’s always been my dream to travel to all the areas of America.” The 14 students and three chaperones are scheduled to return to San Giovanni Valdarno Saturday Corning-San Giovanni Valdarno Sister City Committee chairman The students and chaperones visited the Corning Museum of Glass Studio Thursday and toured the Hot Glass Show at CMoG The students ended their day at a Pasta Dinner at the Corning Veterans of Foreign War This is the fourteenth consecutive year the Corning Student Exchange Trip The students and chaperones stayed with host families which gave them an opportunity to know Corning and better learn the culture The San Giovanni students who traveled to Corning are Francesco Mori The high school students visiting from Corning's sister city in Italy took a break from their whirlwind trip to enjoy a pasta dinner Thursday at the VFW and meet some folks from the community The group of 14 students and two chaperones from San Giovanni Valdarno landed last week in New York City and spent a few days sightseeing at Ground Zero said Sal Trentanelli of the Corning Sister Cities Association The group stopped back to get settled with their host families in Corning then it was off to see Niagara Falls for a day the teens attended classes with their hosts at East High to see the White House and some of the monuments that were still open despite the partial government shutdown They also got a private tour of the Capitol with U.S and saw a debate in progress on the House floor the group made glass pumpkins at the Corning Museum of Glass and were the guests of honor at a pasta dinner at the VFW that was open to the public "On Friday we're taking them for a tour of WETM and we're going to Tanglewood Nature Center and Wings of Eagles Then we're going to Darien Lake on Saturday and volunteering at the Wineglass Marathon on Sunday," Trentanelli said the Italians head back to fly out of John F a junior at the high school in San Giovannia Valdarno said she and her fellow students had been having a great time She said seeing Niagara Falls was the highlight for her so far the Corning students playing host this week will head over to San Giovanni Valdarno "We'll take them to see some of the famous Italian cities - Milan This is the seventh year of the exchange program between Corning and San Giovanni Valdarno which share long traditions of glassmaking and winemaking Corning also has Sister City programs with Kakegawa CORNING | The Corning-San Giovanni Sister City Committee will again host Italian students in through its exchange program Fourteen San Giovanni Valdarno students will visit the Crystal City from Sept Each will be guests in the homes of an East High School student East High senior Grace Clark said she and her sister are looking forward to hosting two San Giovanni students at their home "My favorite part is getting to know the people and how they're different than we are," said Clark a three-year member of the committee who visited Italy earlier this year people spend more time enjoying the little things "I saw that in the short amount of time I was there," she said also a student host who also visited Italy "It was the second time I got to go," Trentanelli said "I was able to reconnect with the people I met there I'm looking forward to their visit here in Corning." two teachers and a principal will arrive at East High School at 6 p.m and visit several Corning businesses including the Corning Museum of Glass "Our students really show the Italian students a lot of American culture Everyone gives a real effort to make the Italian students welcome." A chicken barbecue and Family Festival will be held from noon-7 p.m Saturday at the Veterans of Foreign Wars to raise funds to benefit the Corning-San Giovanni Sister city committee The chicken barbecue is $8 for adults and $5 for children Marich Music Store and at the Market Street Barber Shop CORNING | Fourteen Corning-Painted Post High School students and three teachers were set to arrive in Florence They will spend much of the next 10 days in San Giovanni Valdarno which also has a long history of glassmaking and is set in a winemaking region president of Corning Sister Cities Association The students and teachers will stay with host families and attend school with the Italian students as part of a Sister Cities exchange program chairman of the Corning-San Giovanni Valdarno Sister City Association said the people in San Giovanni and throughout Italy are very kind “They make you feel like you’re a part of the family,” Baker said And there are so many eras of architecture you wouldn’t get to see such a span anywhere else.” is looking forward to the time he will spend in Italy “I wanted to experience the Italian culture and get to travel with my friends,” Larsen said “I have five friends who have traveled (to San Giovanni) and I’ve only heard good things about it.” a C-PP art teacher and a longtime member of the exchange program “The relationships we have built; they’ve actually became a family to us,” Holland said The 14 students and three teachers will return to Corning on Feb The students and adults who took the trip: John Trentanelli Brendan Walker and Meaghan Price and chaperones Joe Tobia assistant C-PP Principal Nick Kapral and art teacher Sharron Hollins This is the ninth year of the student exchange program with Corning’s Italian sister city Corning’s Sister Cities program also does exchanges with Kakegawa The birth certificate of Renaissance painting is not to be sought in the shadow of Brunelleschi’s dome Florence was not the first recipient of a panel capable of speaking the new language among the Valdarno countryside dotted with woods and olive trees: the Renaissance in painting was born in the parish of San Giovenale a tiny rural village just below the hills separating the Upper Valdarno from the Casentino In the village church stood an altar whose patronage belonged to the Castellani family a dynasty of merchants and bankers who were among the most prominent in Florence even though they came from Cascia di Reggello the hamlet just beyond San Giovenale: it was probably a member of the family who commissioned Masaccio to paint the altarpiece for the high altar destined to become the first cornerstone of the new painting according to the date written on the lower border in humanistic capitals instead of Gothic letters the painting was made in Florence and then sent to the Valdarno and we are not even certain that it reached San Giovenale immediately: there are those who think that it remained for a few years in Florence where the artists working in the city could see it and assimilate the powerful overwhelming force of novelty that that painter in his early twenties had unleashed on his three panels But the suggestion remains to think of a painter at the beginning of his career who sanctioned one of the most profound ruptures in the history of painting by painting for a small country church the first exhibition built around this fundamental triptych opened in Cascia di Reggello: Masaccio and the Renaissance masters in comparison is the very high tribute that the Masaccio Museum of Sacred Art is dedicating to his main work as part of the Florentine museum’s Uffizi Diffusi and the Fondazione CR Firenze’s Piccoli Grandi Musei projects.The Triptych of St Juvenal therefore had to wait until its birthday to have an in-depth study dedicated to it round anniversaries can lead to outcomes of the opposite sign since they can bring exhibitions set up more for duty of date than to open up real opportunities for study and understanding or on the contrary they can offer the opportunity to build up exceedingly relevant focuses The Reggello exhibition certainly belongs to the second case in point: between the rooms of the Masaccio Museum Lucia Bencistà and Nicoletta Matteuzzi have created an extremely dense exhibition on the origins of Renaissance painting all in the meager space of only twelve works is proof that if the scientific project is solid and well planted on its foundations there is no need for long carrels of loans to leave a trace on the public A project that has been made possible by widening the traditional mesh of the Uffizi Diffusi since in Cascia di Reggello not only works from the great Florentine museum are arriving: to compose this exhibition important pieces from private collections as well as from churches and museums in the area have been gathered together The result is an exhibition that has managed to combine to bring works back to their territories of origin by offering small museums in the Tuscan province the possibility of reknitting the threads of contexts that have been unraveling over the centuries It may seem strange that a work so central not only to the vicissitudes of its time but also to those of twentieth-century criticism which has been the focus of long and impassioned discussion around the Triptych of San Giovenale has never been the main protagonist of an exhibition event dedicated to it be mitigated by the long exhibition fortune of the work well reconstructed in the catalog by Nicoletta Matteuzzi: after having survived unscathed the looting of the Nazis during World War II (also in the catalog Maria Italia Lanzarini publishes the testimony of Aurelio Bettini Renato’s nephew who was sacristan of the church in 1944: according to Aurelio’s account his father allegedly hid the Triptych of St Juvenal first behind the headboard of his bedroom requisitioned by a German officer who therefore unknowingly slept under Masaccio’s masterpiece taking advantage of a moment of the Nazi’s absence) Juvenal was rediscovered in 1961 by Luciano Berti the first to formulate Masaccio’s name for the work The proposal is said to have met with some resistance (above all that of Roberto Longhi on the grounds that the quality of the work does not reach the same degree of excellence as other products certain to be by Masaccio’s hand: arguments that Tartuferi rejects rightly pointing out that “some uncertainty is perfectly understandable even in a rookie genius and at the same time it seems unlikely that the scurvy 20-year-old from Valdarno was already endowed with an overcrowded array of helpers.” In the year of Luciano Berti’s recognition the work was immediately taken to Florence for a lengthy restoration that would keep it away from Reggello and even from the eyes of the public until 1988 except for a few sporadic exhibition moments such as the 1972 exhibition Firenze restaurata and the comparison with Beato Angelico’sAnnunciation of San Giovanni Valdarno staged in 1984 in Fiesole to exhibit it in the parish church of San Pietro in Cascia when it was brought to the Masaccio Museum Since 1988 there have been further technical and scientific investigations and participation in five other exhibitions undergone a long and continuous work of valorization that has employed the most varied languages (even a theatrical performance) and that this year culminates with the dedicated exhibition An exhibition that begins by transporting the public to early fifteenth-century Florence a time when peace and economic stability ensured prosperity for a city where public works were bustling and where private patrons also competed to secure the services of the best artists on the market: it is a Florence where the elegant late Gothic culture of a Lorenzo Monaco or a Gherardo Starnina is rooted but where naturalist impulses are already manifesting themselves which at the beginning of the century translate into a neo-Giottism capable of smoothing out the sharper points of late Gothic abstruseness and extravagance The first room of the exhibition thus presents the visitor with the different languages that characterize Florentine figurative culture at the beginning of the 15th century: one thus puts oneself in the shoes of a young Masaccio who left his native San Giovanni Valdarno to move to Florence at the age of seventeen going to live in the neighborhood of San Niccolò Oltrarno to complete his training in a local workshop as the Reggello exhibition intends to demonstrate Masaccio reveals some points in common at the start of his career one can admire what Masaccio could see at the time of his move to Florence: we begin with the earliest work in the exhibition Lorenzo Monaco’s triptych with Our Lady of Humility and Saints Donnino on loan from the Museo della Collegiata in Empoli a manifesto of the late Gothic finesse that became established in the city in the latter part of the 14th cent and to which refer the elongated proportions of the saints (but also those of Saint Donnino’s dog) the sinuous and unnatural lines of the draperies certain preciousnesses such as those of the cushion on which the Virgin sits and the almost metallic iridescence of the saints’ robes the Empoli triptych is considered the first fully Gothic work by a painter who had been trained in the wake of Giotto’s idiom: the beginning of work on the North Door of the Baptistery of Florence the undertaking that Lorenzo Ghiberti had begun just the year before may well have contributed to orienting him toward the new international Gothic style but perhaps more decisive was the return from Spain in 1402 of Gherardo Starnina about fifteen years older than Lorenzo Monaco a point of reference not only for Lorenzo but for all the younger artists and the first innovator of Florentine culture at the end of the 14th century Demonstrating the wealth of experience Gherardo brought back with him from the Iberian peninsula is a highly refined Madonna and Child between Saints Anthony Abbot on loan from the Oriana and Aldo Ricciarelli collection in Pistoia: it is a work characterized by elegant and decorative motifs that themselves demonstrate a Spanishate taste (the carpet on which the two saints sit at the feet of the Virgin giving an account of the opposite pole is a Madonna and Child by Giovanni Toscani of about 1420 from the parish church of Santa Maria Assunta in Montemignaio: a work that stands out for its tender rendering of the affections it is an interesting example of neo-Giottesque painting capable of bringing back the language of the early fourteenth century without reproposing it slavishly but updating it with some of the finesse typical of late Gothic taste beginning with the course of the borders of the Virgin’s wide sleeves are not the masters with whom the young Masaccio was confronted on his arrival in Florence (Starnina himself died when the Valdarno artist was only twelve years old): they were other artists with whom he probably came into contact and the second part of the room has side by side a couple of works fully participating in the artistic temperament dominated by the flamboyant painters of the International Gothic and the devotees of tradition and who perhaps provided Masaccio with the first test beds on which to measure himself From the church of San Niccolò Oltrarno comes an important loan the left-hand compartment of Bicci di Lorenzo’s triptych admitting an early date and assuming that the Florentine painter began working on it in 1421) in all likelihood knew very well and perhaps kept in mind when he began work on the Triptych of Saint Juvenal (one will note the strong resemblance of Bicci’s Saint Bartholomew to the counterpart saint that Masaccio painted for his triptych in 1422) Masaccio will surely have admired the Crucifix in the church of San Niccolò Oltrarno another work that can be dated to the early 1420s: restored in 2021 (it is being exhibited in Reggello for the first time after the intervention) it now presents itself to our view with all the suffering it has endured over the centuries prevent us from framing this work in a context of great renewal since the anonymous author of this wooden sculpture gives us back a Christ whose face is pervaded by an expressive motion of pain and which even in its still fourteenth-century setting shows that it was already sensitive to the innovations that a decade earlier were being introduced by the crucifixes of Donatello and Brunelleschi inescapable models for anyone who set about sculpting Christs on the cross from then on The Crucifix of San Niccolò Oltrarno is therefore a work that “already belongs to Masaccio’s world.” By contrast Giovanni dal Ponte’s Madonna and Child with Saints Nicholas and Julian a painting that looks to the Iberianisms of Gherardo Starnina (especially in the way the faces are illuminated and brightened) of “elements that foreshadow an interest in the protagonists of late Gothic humanism such as Masaccio” (the plastic relief of chiaroscuro contrasts which will improve precisely through contact with Masaccio) The Triptych of Saint Juvenal is at the center of the second room in an unprecedented comparison with Beato Angelico’s Triptych of Saint Peter Martyr that Masaccio’s first master was Brunelleschi then this alumnus at a distance is evident from the Valdarno artist’s first known work: the young artist on his debut immediately makes central perspective his own firm and rigorous manner as can be seen by looking at the foreshortening of the ivory throne of the Virgin and the lines of the floor (which is shared by all three compartments: Masaccio imagines a unitary space) that converge toward the ideal where the artist places the focal point of the composition thus assuming a bottom-up view (the real reason why the Madonna appears to us a little elongated) The figures are firm and their volumes full truly inserted in space: the plasticism learned from observing the works of Brunelleschi and Donatello enjoys an accomplished rendering of perspective The discoverer of the Triptych of San Giovenale spoke of a “continuous insistence on three-dimensionality,” mastered with great mastery by Masaccio evident also from certain details such as the feet of the Child “which flow [...] into the frontal view without falling on point,” or the hands of the Virgin “caught in a double situation of profile horizontal and vertical,” and again the angels from behind with their arms stretched forward And one could then mention at least the book of Saint Juvenal in whose writings Masaccio’s handwriting has been recognized through a comparison with an autograph document already alien to the flexuosity of the International Gothic are investigated in their frowning expressions with great psychological acuity hark back to Donatello: look at the Saint Juvenal who brings to mind the princess of the predella of the San Giorgio or the Saint Blaise who recalls the bronze Saint Ludovico executed for Orsanmichele and now in the Museo di Santa Croce how to “grasp from the very first Florentine steps through individual elaboration and rethinking the perspective and plastic novelties of the new art of Brunelleschi and Donatello the moral and cultural value that flowed powerfully from such novelties.” the first painter to fully grasp the scope of the Masaccio revolution The friar painter’s machine shares some innovative solutions with the Triptych of St although we do not know whether Angelico arrives at his conclusions independently or after measuring himself against Masaccio’s works This is a question that has long been debated by art historians that certain cues are common to the two artists: above all the idea of linking the three compartments so that the figures share a unified space while preserving the traditional tripartition and the same spatiality that appears in the two scenes of the Preaching and Martyrdom of St which are so original that in the 1950s they were considered late additions by Benozzo Gozzoli It is actually the product of the hand of a Beato Angelico who “is already capable of exhibiting a control of spatiality (in the perspective placement of the pulpit and the buildings in the background) and an absolute mastery in the restitution of the plastic masses (the female figures crouched on the ground wrapped in large cloaks) which accredit him precisely as an independent sodal of Masaccio at the beginning of the 1520s.” The Triptych of St Peter Martyr marks a turning point in the career of Guido di Pietro who from being a “man of the fourteenth century” (so Tartuferi in his essay in the catalog all dedicated to the comparison between Masaccio and Beato Angelico) trained in the more traditional Gothic language is transformed into one of the main innovators of his time: or rather should be placed alongside Masaccio in the renewal of painting although the two were divided by a different conception of their naturalism (modern and decidedly more worldly that of Masaccio universal and mystical that of Angelico: two visions of reality that “from the point of view of stylistic outcomes turn out instead to be practically identical,” Tartuferi points out) Accompanying the comparison between Masaccio and Beato Angelico are works by two other greats of the time The former is present with the Madonna of Humility from the Uffizi still obviously unaware of what was to come: An elegant gentle and rare product of Masolino’s early activity the Madonna of Humility represents one of the pinnacles of late Gothic Florentine art the extreme delicacy of the chiaroscuro and the luminosity of the color range.” Masolino would shortly thereafter be fascinated by Masaccio’s innovations and as is well known he would also have the opportunity to measure himself directly against him in the Saint Anna Metterza and especially in the undertaking of the Brancacci Chapel the most Masaccio-esque of the painters of early 15th-century Florence whose presence in the exhibition is determined precisely to illustrate the earliest ways in which Masaccio’s language spread: an early work it shows clear references to Masaccio not only in the full and solid volumes of the figures but even in the niche on which the Madonna stands a reference to the Trinity painted by Masaccio in Santa Maria Novella in Florence a Madonna and Child with Saints John the Baptist and James the Greater by Francesco d’Antonio di Bartolomeo and a Madonna and Child Enthroned and Two Angels by Andrea di Giusto tending to show how the Florentine painters’ attention to Masaccio had not waned even after the precocious death of the Valdarno artist Francesco d’Antonio di Bartolomeo is according to Tartuferi one of the most original interpreters of Masaccio (but also of Beato Angelico and Masolino): the Virgin and the Herculean figure of the Child could denounce a direct dependence on the Triptych of San Giovenale despite the presence of the two much slimmer saints which demonstrate instead the breadth of the cultural horizons of this curious and singular painter Less original and more schematic is the interpretation of Andrea di Giusto moreover Masaccio’s collaborator in the Pisa polyptych in 1426: the mixture of new elements (the measured plasticism of the Virgin mindful above all of Beato Angelico’s Madonnas the foreshortened perspective) and traditional ones (the course of the gilded border of the Virgin’s mantle the fineness of the gilding) give us back the traits of an artist who “seems to have achieved a balance between the adherence to the traditional Gothic conception and the attention to the formal modules of the masters of the early Florentine Renaissance.” an appendix to the exhibition inside the parish church of Cascia since the fragment of fresco with theAnnunciation by Mariotto di Cristofano a neo-Giottesque work executed around 1420 was considered an integral part of the itinerary of the exhibition given its role as a living witness to the events that affected Valdarno in the first decades of the 15th century Matteuzzi recalls how certain the contacts between Mariotto and Masaccio are (the former had married the daughter of Masaccio’s stepfather in 1421) plus the two painters were both from San Giovanni Valdarno and separated by only eight years of age although the older Mariotto does not appear in any way close to Masaccio’s innovations “preferring rather,” Matteuzzi writes “to remain faithful to the fourteenth-century tradition or to update himself on texts by other painters such as Lorenzo Monaco and Beato Angelico.” The Cascia fresco is another figurative text that Masaccio may have seen during the period when he was waiting for the Triptych of San Giovenale It is therefore difficult to think of an exhibition more connected to the territory than the one that was set up for the 600th anniversary of Masaccio’s first masterpiece Masaccio and the masters of the Renaissance in comparison is a choral exhibition to whose excellent result a heterogeneous group of scholars of various backgrounds They have been able to develop a harmonious and balanced itinerary and to recount it in a catalog of considerable scientific and cultural depth literally translated into popular terms in the impeccable apparatus of the rooms also stand out in terms of sustainability: there are no invasive panels that in the cramped spaces of the Masaccio Museum would have produced nothing but visual pollution been replaced by nimble QR Codes that refer to texts published on the web and a pleasant free audio guide that accompanies the public almost work by work This is a solution that even the major exhibitions of the most famous museums should seriously consider to lighten their tour routes Masaccio and the Renaissance masters in comparison is then an exhibition with a two-faced nature: it tells a story that was born in the deepest province but from which the foundations of Renaissance painting sprouted and it is set up in the rooms of a small museum hidden in the Valdarno hills but it speaks with the tools of the most up-to-date museography and the Reggello exhibition can be counted among the most remarkable outcomes of the Uffizi Diffusi project which marks another step in raising its already high standards of quality Masaccio and the Renaissance masters in comparison is therefore an exhibition that points the way to a future that will be increasingly under the banner of occasions such as the one in Reggello: exhibitions of limited size aimed at the valorization of the works and the history of the territory capable of speaking to scholars as well as to the general public with identical ease (CBS/AP) - Italian police say they have found the body of Allison Owens, an American woman who had been missing in Tuscany for three days Police believe she was the victim of a hit-and-run driver Pictures: Missing American found dead in Italy Antonio Frassinetto told a news conference that the body of 23-year-old Allison Owens was found Wednesday in a canal beside a heavily trafficked road in San Giovanni Valdarno He said she may have been using an iPod and not heard a car approaching Tests have been ordered to determine the cause of death She was last seen alive Sunday afternoon and more than 100 police using dogs have been searching for her ROOSTERS SAINT JOHN: Degiovanni 13, Rossini 19, Policari 11, Cruz Ferreira 2, Amatori 2, Lazzaro 3, Sposato ne, Mioni 8, Stroscio, Di Fine ne, De Cassan 6. Coach: Garcia. USE ROSA SCOTTI: Tarkovicova 7, Colognesi 24, Castellani 13, Antonini, Vente 12; Leghissa n/a, Ruffini 7, Samoylych n/a, Ianezic 10, Ndiaye, Chelini, Casini 2. Coach: Cioni. Referees: Bucketmen of Venice and Lancers of Porto San Giorgio.Partial: 18-21; 31-41; 45-54. A 93-year-old woman was killed in her home A tragic event has shaken the community of San Giovanni Valdarno where a 93-year-old woman was found dead in her home who was at her 67-year-old daughter's house was the victim of a murder that occurred in her sleep according to initial reconstructions by investigators The news has caused dismay among residents who cannot believe that such a crime could occur in a family context The victim's daughter called the emergency number 112 around 7 a.m the officers noticed signs of violence on the elderly woman's body becoming the main suspect in this dramatic case The investigation is still ongoing and investigators are trying to reconstruct the events that led to this tragic epilogue a detail that has raised questions about the dynamics of the murder Investigators are also examining the family context and the relationship between mother and daughter to understand if there have been previous episodes of conflict or tension The community is waiting for further developments leaving a deep mark in the hearts of citizens Notizie.it is a newspaper registered with the Court of Milan n.68 on 01/03/2018 Impara come descrivere lo scopo dell'immagine (si apre in una nuova scheda) Lascia vuoto se l'immagine è puramente decorativa