The Last Masterpiece of Michelangelo - The Rondanini Pietà
Location: Castello Sforzesco
Address: Piazza Castello
“The most moving sculpture ever created by an artist.” - that’s how Henry Moore defined the Rondanini Pietà, Michelangelo’s most fragile and imperfect work and, perhaps for this, the most poetic. The marble piece that, today, we admire at the Castello Sforzesco kept the renaissance genius company for almost fifteen years. As Giorgio Vasari explains, Michelangelo began working on it right after the Bandini Pietà. Then he abandoned it in his Roman workshop behind Piazza Venezia, only to begin working on it again around the age of eighty. The lower section, with the legs of Christ, was virtually completed. But the old Master was in a revolutionary mood - he destroyed the upper part and fashioned the bust of Christ out of the very body of the Virgin Mary, as if to show his rebirth. Michelangelo died suddenly while he was still working on the piece, transforming this work into a sort of spiritual testament. Courageously innovative in its “verticality”, the Rondanini Pietà is comprised of alternating highly refined sections and others which are virtually untouched. Defining it as “unfinished” would be reductive. Here, Michelangelo’s poetry of the incomplete encounters the turmoil and understanding of an existence at its dawn - the sculpture at the Castello Sforzesco moves us because it revolves around the intensity of the relationship between mother and son, but also for its capacity to communicate, etching into hard and incorruptible marble, the most profound sense of human imperfection.
Irony and intelligence to get to the essence of things. The poetics of Tino Stefanoni
Close to conceptual, pop and minimalist research, Tino Stefanoni does not adhere to any movement and prefers to maintain a graphic taste that reduces subjects to pictorial signs and which is renewed over time through continuous experimentation with new techniques.
Picasso did not consider the art that inspired him, which moved his creative mind in an unstoppable desire to open new paths, as "primitive", he did not see a "before" and an "after" in art, there was no "other", "different" art: Picasso conceived it as a timeless Whole.
Over 200 shots, including over 60 medium and small formats, chosen and selected by the author and presented together with an unpublished interview, retrace the career of one of the most famous contemporary photographers.
The exhibition presents an in-depth and original approach to Brassaï’s oeuvre through over 200 vintage prints, with particular attention to the extremely famous images dedicated to the French capital and its nightlife.