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Life & People
Italian Prime Minister Paolo Gentiloni lobbied President Trump on Wednesday to make a dramatic about-face and open the United States border to more migrants, while police detained at least two dozen protesters in the city.
First lady Melania Trump told the children of the Bambino Gesù Pediatric Hospital to “Stay strong and positive” during a visit after President Donald Trump’s and her meeting with Pope Francis. Meanwhile, first daughter Ivanka Trump praised the “strength, faith, and perseverance” of human trafficking victims during a visit to a Rome-based center which works with refugees.
US President Donald Trump has said he is "more determined than ever" to pursue peace in the world after meeting Pope Francis at the Vatican.
Nicky Hayden, a champion motorcycle racer, died at an Italian hospital Monday, five days after being struck by a car while bicycling as part of his training on the Rimini coast.
This week, former President Barack Obama and President Donald Trump will travel abroad in Europe.
Alexander Zverev signaled his anticipated arrival among the tennis elite by defeating Novak Djokovic 6-4, 6-3 Sunday to win the Italian Open. Zverev, 20, of Germany, became the youngest player to win a Masters 1000 event since Djokovic won in Miami a decade ago at 19.
The daughter of Italian immigrants, Ricciardi will be standing tall again next week when she receives an honorary doctorate from the College of Staten Island for her devotion to art — a pursuit she embraced after nearly three decades running a shoe store at the ferry terminal on Staten Island.
Ever thought about giving up everything and moving to Italy to live in a castle, if only it were free? Well, then Italy’s state property agency has got the online brochure for you. Go ahead, take a look and start dreaming.
Nancy Olnick has long considered herself an Italophile. But this New Yorker never imagined Italy would become such a central part of her life until she met Giorgio Spanu, a native of Sardinia, in 1989. After collecting Pop art from the 1960s, Ms. Olnick shifted focus with Mr. Spanu to the Arte Povera movement, collecting the work of radical artists in Italy who shunned the commercial art market in the 1960s and explored unconventional, humble materials.
Has anyone ever traveled to Italy to go on a diet? Like every cartoon, the notion of the oft-romanticized country as the tourist’s pigging-out destination — it provided the “Eat” in Elizabeth Gilbert’s memoir “Eat, Pray, Love” — has some basis in reality.
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Italy in NY Calendar
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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"Over twenty years ago, William Papaleo moved to Naples to practice the art he had learned in the U.S. A third-generation U.S. American with ancestors from Italy, Papaleo is diﬀerent from most Italian American artists who use Italy to set up a sense of the past and reconnect to it through travel. Their art, more oﬅen than not focuses on the family and their own reactions to retiring to the home of their ancestors. What you ﬁnd in Papaleo’s art is something new, something all other Italian Americans have not dealt with, and that is the role of the immigrant in today’s Italy. It is through art like this work, that we can we reach beyond the real, and sometime we even achieve the impossible."
--from Distinguished Professor Fred Gardaphe's exhibition catalogue essay
The Norton Simon Museum presents an intimate exhibition examining Pietro Rotari (1707–1762), an illustrious Italian artist who found success and fortune in Vienna and beyond, ultimately becoming court painter to Empress Elizabeth of Russia. Serial Flirtations: Rotari’s Muses brings together eight paintings from the Simon holdings attributed to Rotari and his studio, including his iconic Young Girl Writing a Love Letter. Six rarely displayed character studies, all of which were returned to the artist’s family after his death in St. Petersburg and retained until the 1970s by the Cartolari family, his heirs, will be featured as a set. As a whole, the installation commemorates Rotari’s inclination to summon his muses and celebrates the 310th anniversary of the artist’s birth.