You are here
|Join Our Free Newsletter|
Life & People
Francesca Schiavone, who is planning to retire after the season, will not be playing in front of her local crowd in Rome this week following a series of peculiar developments.
Italy is set to ban non-vaccinated children from starting state schools "by the end of next week", according to the country's health minister.
Loaded with peanut butter and jelly sandwiches, bananas, Gatorade, grit and prayer, nine U.S. seminarians studying in Rome ran relay-style across the Italian peninsula to raise funds for displaced families in Iraq.
Bord Bia launched its new trade communications campaign for Irish beef in the Italian market at Tuttofood in Milan, Italy, this week.
Former President Barack Obama staunchly defended democratic participation in an international appearance Tuesday, arguing that if citizens want certain policies implemented, they need to go to the polls.
Italian football authorities may face disciplinary action over the treatment of Pescara midfielder Sulley Muntari. Muntari, 32, was sent off after leaving the field claiming he was racially abused during a Serie A game.
Ever dream of getting paid to move abroad? An Italian mayor wants to offer money to people who relocate to a tiny village in northwestern Italy.
With the 57th annual La Biennale art festival set to begin in Venice on May 13, the Italian city has rolled out a series of initiatives to address unsustainable tourism and overcrowding at top attractions.
Italian Foreign Minister Angelino Alfano on Saturday held talks in Tripoli with top Libyan officials on peace efforts for the war-wracked country and ways to curb illegal migration to Europe.
The week is going to get off to a miserable start in Italy, with heavy rain and storms forecast across the centre and south of the country.
Donate & Subscribe!
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.
Open Seven Days a Week
Sunday–Thursday: 10 am–5:30 pm*
Friday and Saturday: 10 am–9 pm*
"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.