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Life & People
Are you fed up with the Prosecco obsession? I certainly am. Boring, one-dimensional wine that’s currently enjoying considerable vogue because it’s possessed of one attribute, and one attribute only: bubbles. So it goes “Pop!” when the cork’s pulled. Spare me please.
Struggling Italian carrier Alitalia headed toward its second period of receivership in a decade on Tuesday with the board saying it had no choice after workers rejected a relaunch plan that would have unlocked new investments.
The names of thousands of streams, hills and meadows are causing a political row in Italy's mainly German-speaking province of South Tyrol.
They are fewer now, and mostly older and grayer, but after the greater part of a century they are still proudly Italian-American and Catholic – and still here.
Former Italian Prime Minister Matteo Renzi has regained the leadership of the governing Democratic Party (PD).
Former Italian Prime Minister Matteo Renzi says that the European Union must fundamentally change and get closer to its citizens if it is to survive.
The body of 38-year-old Dario Cecconi was taken on a lap of honour of the Tandragee 100 road race circuit in County Armagh on Thursday evening.
A series of earthquakes rocked Italy's central region on Thursday evening, the most powerful measuring 4.1 on the Richter scale.
German airline Lufthansa is not interested in taking over its troubled Italian peer Alitalia.
Photographer Seth Vane, in his mesmerizing series Tunnels to the sky, captured perfect symmetry of these piazzas and the peaceful reverie they inspire.
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Italy in NY Calendar
Luca della Robbia (1399/1400-1482), a master sculptor in marble and bronze, invented a glazing technique for terracotta sculpture that positioned him as one of the most innovative artists of the 15th century.
Perhaps more than any other painter, Sandro Botticelli (about 1445–1510) exemplifies the artistic achievement of Renaissance Florence in the 15th century. “Botticelli and the Search for the Divine,” organized by the Muscarelle Museum of Art at the College of William & Mary and Italy’s Metamorfosi Associazione Culturale, explores the dramatic changes in the artist’s style and subject matter—from poetic depictions of classical gods and goddesses to austere sacred themes—reflecting the shifting political and religious climate of Florence during his lifetime.
At the height of his career, Botticelli was supported by the powerful Medici family, headed by Lorenzo the Magnificent. Botticelli’s instantly recognizable style, characterized by strong contours, lyrical poses, and transparent flowing drapery, was influenced both by Antique models and the courtly preferences of his patrons. Two paintings from this period on view in the exhibition, Minerva and the Centaur (1481, Uffizi, Florence) and Venus (about 1490, Galleria Sabauda, Turin)—Botticelli’s reworking of his famous Birth of Venus—are life-size and display the painter’s skill in depicting elegant figures from classical mythology.
In his later years, Botticelli became a follower of the stern Dominican friar Girolamo Savonarola, who by 1494 had established a theocracy in Florence following the exile of the Medici family. Personal conduct came under harsh scrutiny, and in 1497 all manner of worldly goods—including cosmetics, mirrors, fancy clothing, musical instruments, and paintings with nudes and pagan subjects—were burned in a notorious “Bonfire of the Vanities.” Under Savonarola’s sway, Botticelli’s graceful manner gave way to a newly austere approach, and secular subject matter disappeared. Severe religious paintings dominate the artist’s later production, and such moving masterpieces as the Virgin and Child with the Young Saint John (about 1495, Galleria Palatina, Palazzo Pitti, Florence) demonstrate the striking departure from his earlier sweet style. The exhibition also includes paintings by Botticelli’s teacher Filippo Lippi, his student Filippino Lippi, and other contemporaries.
The exhibition, the largest and most important display of Botticelli’s works in the United States, features 24 paintings from international lenders and the MFA’s own Virgin and Child with Saint John the Baptist (about 1500) as well as important loans from Harvard and the Isabella Stewart Gardner Museum.
Italian artist Maurizio Cattelan’s bold, irreverent work skewers social complacencies and reimagines cultural icons. On the occasion of his 2011–12 retrospective at the Guggenheim, which featured virtually every work he had ever made suspended from the oculus of the rotunda, Cattelan announced his retirement from art making. Five years later, he returns from this self-imposed exile with a new, ongoing project at the museum. For “America” Cattelan replaced the toilet in this restroom with a fully functional replica cast in 18-karat gold, making available to the public an extravagant luxury product seemingly intended for the 1 percent. Its participatory nature, in which viewers are invited to make use of the fixture individually and privately, allows for an experience of unprecedented intimacy with a work of art. Cattelan’s toilet offers a wink to the excesses of the art market but also evokes the American dream of opportunity for all—its utility ultimately reminding us of the inescapable physical realities of our shared humanity.
Deemed a "Paradise of Exiles" by the British poet Percy Bysshe Shelley, Italy attracted not only 19th-century Romantics, but also many of photography's earliest practitioners, who traveled to the peninsula in order to capture its monuments and distinctive topography. At the same time, Italians adopted daguerreotypes and paper negatives as a means to represent their own cultural patrimony during a period of political upheaval.
This exhibition focuses on Italy's importance as a center of exchange and experimentation during the first three decades of photography's history—from 1839, the year of its invention, to 1871, the year Italy became a unified nation. Paradise of Exiles highlights the little-known contribution of Italian photographers to the development of the new medium through some 35 photographs and albums drawn from The Met collection, along with 11 loans, including rare daguerreotypes and photographs related to the Risorgimento, the period of modern Italian unification.
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Times Square becomes a playground of good design with the Spun Chair, designed by Thomas Heatherwick for Magis, an Italian furniture company. Rock side-to-side or spin in circles, public space comes alive with these ergonomic forms that work as comfortable seating, whichever way they are rotated. Magis products are distributed exclusively by Herman Miller in the US and Canada.