Red Dots On Roof Of Mouth And Sore Throat

Caravaggio, I Am

Caravaggio violent murderess and genial star of a tormented life in the beginning of the seventeenth century. A legend crafted by biographers, however, that the material was never lacking.

This year we celebrate the four hundred years after the death of Michelangelo Merisi, called Caravaggio (1571-1610), with important exhibitions, first of all, the exhibition at the Quirinal Stables gathering to himself a group of about thirty works attributed to the genius of this important artist, and other comparisons.

hordes of visitors, pilgrims, attracted by the centennial and the events held in his memory, lend themselves to celebrate its importance. At Quirinal Stables the exhibition had a record number of visitors: 580mila Visitors total of which 5,150 on average each day during the four months. A centenary, with a "National Committee to celebrate the fourth centenary of the death of Michelangelo Merisi da Caravaggio (1571-1610)," becomes an opportunity to redefine through initiatives with a high scientific level, the real human and artistic profile master of Lombardy, and to offer moments of analysis and reflection on his extraordinary artistic production .

And while we celebrate the celeberrimus pictor , the great master, the young apprentice who came to Rome from Lombardy to become one of the highest warnings from the history of art, able to invent light for a new balance and a structural function space completely new and ingenious, the National Committee for the enhancement of heritage, historical, cultural and environmental announces the discovery of his bones in the cemetery of Porto Ercole, thanks to the work of a team of experts and necroscienziati.

the footsteps of Caravaggio as the remains of the set of CSI: tests of carbon, the DNA of the remains in mass graves. Everything for the presence of the remains of the great master in Porto Ercole, where until now the most reliable sources claim that the artist died in July 1610.

85%, you are sure to have found the remains of Caravaggio. Carbon 14 allowed a first dating of the finds and the selection of those who went back to the time of his death. Subsequent analysis on age and gender have excluded those belonging to women and children. Finally, the analysis of DNA compared with that of the descendants of the family Merisi.

and possible causes of death? Chemical and microbiological analysis to ascertain the presence of lead poisoning and death, an element found in large amounts in the colors. And, that syphilis may have contracted for the life of unbridled and uninhibited behavior in Rome. Or brucellosis, or death from malaria. In short, the yellow is more dense and full of surprises.

To 85% of the bones found are of Caravaggio, but not yet in a position to reach some conclusions.

Thanks to the flourishing of the studies, the biographical events of Caravaggio have been reconstructed for a large part fueling stereotypes, myths and legends that almost belittle his complex personality and image. Much has been written and much said and will say it again, true or false about likely, but certainly, his works are large claim that the objective meaning of new contents and forms of a painting of renewal came close to the real things observation of the mad reality.

Although known and admired in life, also refused and uncomfortable, it was almost forgotten in the centuries after his death before being recognized for its importance in the twentieth century as a precursor and its missing link for the development of modern art.

Historians, biographers and critics are in a ferment to discover the reality, as if this could help to validate the reputation of a genius. We, as mere spectators, but we prefer to admire the works blinded and lost in ecstatic wonder that few were able to create with color, form, content.

Although still far from the truth is revealed, the gossip almost obscures its importance. New discoveries of critical Vinceti and his school to retract the lead figure of Caravaggio, the reasons for its death and history. Caravaggio was a great interpreter of his time and, similarly, huge figure of his time. Irregular, uncomfortable, heretical, brilliant, impetuous, against, tortured lives and daring that ended in a real way. Reale, perhaps simpler, perhaps tragic, perhaps on the coast of the Sea. The classical period of art is closed, bringing the light of a new renovation.

Michelangelo Merisi da Caravaggio, St. Matthew and the Angel , 1602 (montage on the left of the first version rejected and destroyed - already Berlin, Kaiser Friedrich Museum - On the right the official version - Rome, St. Louis of France, chapel Contarelli ).
Cardinal Contarelli commissioned Caravaggio's work to decorate the chapel at the Church of St. Louis of France in Rome.
The first version of the work was rejected by the congregation because they are too "strong" because it could not accept to see the fore feet of the saint thrown roughly to the faithful while the angel appeared to them to help themselves to read. The work was soon acquired by Vincenzo Giustiniani. The official revised
sees the saint and the angel placed on a floor (in bassso you see the stool in the balance that comes from the scene) with the saint who has lost the appearance of a rough peasant to become a wise old man and the angel came from above showing the movement inspired by the rhetoric.

Faggion Guido, "Caravaggio, I Am," CircÓs, 25/06/2010

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MAXXI buoy silver in Rome

The cultural and national museums has recently been enriched with MAXXI, National Museum of XXI Century Arts , officially opened in Rome on 30 May.

A three-day inaugural festival, 1000 journalists and experts from around the world, guests all'opening 7500, over 15,000 admissions on the opening day of the gates to the public and over 25,000 in the days to follow.

After ten years of work, life took up the first national museum devoted entirely to contemporary art and new forms of expression of our century.
Designed by Zaha Hadid, MAXXI is a form of modern architecture that engages fully with historic building. A wave form of exposed concrete and black-lit stairs internally developing a path to joints. Architecture anthropomorphic composite flows. A smooth flow of empty and fluid transparency. The modular flow
MAXXI intersects the exhibition even criticized the proposed new museum is completed and concludes that in view of the second floor.
Area, volumes, paths, streams, light and transparency to fill and live.
MAXXI is designed as a building where, at the project level, dominates the power lines, with a great variety and abundance of space to accommodate the different arts, to be a meeting place, alive.
architecture and strong impact that envelops the viewer and has also raised some concerns about the use and construction of the works. The museum is not just a place to set up or to hang two-dimensional works.
Today the museum is a living space such as squares, in his views and spaces, flows in the halls.
Today the museum becomes an environment experienced by people at the community level to discuss, compare, and relate not only dedicated exhibition for aesthetic admiration.
criticism, one of the museum in high-impact structures, which no longer makes sense given that the container, architectural and space dimensions and elements that blend with the exhibits. Already the architect Frank Lloyd Wright with its famous spiral ramp to the Solomon R. Guggenheim in New York divided the space of the museum in its alcove similar to studies in which the artist's paintings were to be left on the ground, leaning against the perimeter wall angle, as if they were on a tripod, illuminated by overhead light from outside. "
The modern museum is modular, is reinventing itself, allows curators and artists to confront new forms of representation always creating unique experiences and enjoyment. The container museum / mausoleum is transformed into an arena that encourages new forms of preparation and representation, able to reinvent the space, enjoyment and experience.

success of the public already announced last November when the empty space of the museum is filled with ' installation designed by Sasha Waltz Dance , a tribute to the flow paths and the new museum. It is even more relevant today with the first exhibitions and events organized by MAXXI, encouraging the active participation of the viewer and interaction. From the collections of art and architecture, works of major international artists such as Aligheri Boettger, Anish Kapoor, William Keintidge, Sol Levitt, Giuseppe Penone, Toderi, Francesco Vezzoli interact with site-specific installations of ten architectural firms. Exhibitions tribute to Fabio Mauri, Gino De Dominicis, Luigi Moretti, Kutlung Ataman. While they are in the pipeline for future exhibitions and collaborations with major international institutions.

MAXXI began his journey to be not only home exhibition of works of art of our century, but also expressive languages \u200b\u200band international partner laboratory of artistic experimentation, a crossroads of different forms of expression, creation and productivity.
As rightly stressed the young curators of the museum, MAXXI is comparable to the Web, you leave a gap of many abscesses and multidisciplinary, able to give the viewer the opportunity to create their own path, to enhance the interdisciplinary, the multiple views and participation. The buoy
silver, so it's already been nicknamed, is the new national space of the arts of our century, a space to be filled and life, which spans the present and future rides.

Faggion Guido, "MAXXI buoy silver in Rome," CircÓs, 17/06/2010
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