维也纳分裂和设计精神

对于在19世纪末通过建立维也纳分裂的艺术家和知识分子，彻底改变了奥地利和欧洲艺术，艺术是完全的（‘gesamtkunstwerk’），必须应用于存在的各个方面。因此，它不可避免地会涉及应用艺术，产生有用和装饰物体的艺术和手工艺品：不仅在艺术世界中，而且在资产阶级的生命特征疲惫的模型中都标志着变化的愿景晚期浪漫主义。古斯塔夫·克里姆特（Gustav Klimt）是该运动的巧妙领袖，并在展览“克里姆特（Klimt）”中受到庆祝。L’uomo, l’artista, il suo mondo’ (‘Klimt: the man, the artist and his world’), open until 24 July at Galleria d'Arte Moderna Ricci Oddi in Piacenza and in the spaces of XNL - Piacenza Contemporanea.

The great artist is represented by many of his works, all somehow related to the 1916-17 ‘Portrait of a Lady’ owned by Galleria Ricci Oddi which is the fulcrum of the exhibition: a painting that is doubly mysterious, firstly because it is painted over top of a previous portrait once believed to have been lost, and secondly because it was stolen in 1997 and found again in 2019 following a series of events which is still unclear today. But the exhibition, curated by Gabriella Belli and Elena Pontiggia with scientific coordination by Lucia Pini, director of Galleria Ricci Oddi, includes 160 works not only by Klimt himself but by Edvard Munch, Odilon Redon, James Ensor, Egon Schiele, and Oskar Kokoschka, as well as an interesting collection of furnishings, silverware, ceramics, bas-reliefs, jewels, tapestries and decorative works made by the famous Wiener Werkstätte, the creative community that translated the aesthetic principles of the Secession into the applied arts, and by Klimt’s Italian followers after he exhibited at the Biennale di Venezia in 1910.

展览包括古斯塔夫的兄弟乔治·克里姆特（Georg Klimt）装饰的珍贵橱柜，以及装饰有银色的金属，以及由约瑟夫·霍夫曼（Josef Hoffmann）盖上盖子的银杯，其创新的白色金属篮子和三角形木椅也出现了。维纳·沃克斯特特（WienerWerkstätte）的另一位成员科洛曼·摩泽（Koloman Moser）制作了一座纪念性的镶嵌扶手椅，日期为1904年。奥托·普鲁茨（Otto Prutscher）生产了一个粉红色和蓝色的乳白色花瓶和一个带有链条的金吊坠，该链条将整个时代的表现力浓缩在珠宝中。

Lucia Pini, the new director of Galleria d’Arte Moderna Ricci Oddi, helps me to understand the unusual and precious cross-section of items on display in the exhibition: “The impressive thing is the variety of techniques and materials these objects reveal to us, because there was no area they did not explore: ivory, ceramics, bronze, precious metals, glass. The Wiener Werkstätte was an all-round project which excluded no technique or material, however unusual. Ivory is not a very common thing, but it may be found inlaid in the furnishings, as in a marvellous little jewellery box with two Egyptian profiles made around the year 1903. Another incredible aspect is the modernity of some of the items,” continues Lucia Pini, “such as Hoffmann’s metal wire baskets: they were made in 1905, and he had the idea of using this sort of pre-printed mesh and making it into a highly significant object, of a modernity that was well ahead of its time.” The three baskets, oblong in shape with an arched handle, do not look their age, 117 years, and would look perfectly at home in a gift shop today.

Klimt’s Italian followers also produced works of significance, such as Vittorio Zecchin’s glass and paintings, Galileo Chini’s ceramic vases, or the works of Adolfo Wildt and Felice Casorati, represented in the exhibition by the enigmatic painting “Il sogno del melograno” (Dreaming of pomegranates) and by two painted terracotta sculptures, Black Mask and Red Mask.

Galleria Ricci Oddi的导演解释说：“ Casorati的面具受到古埃及的启发。”This wave of creativity came to Italy a little later, after Klimt appeared at the Biennale di Venezia in 1910. Lucia Pini sees Zecchin’s glass and paintings and Chini’s ceramics, developed following this artistic revelation, as “the translation of Klimt’s inspiration into a minute, magical, two-dimensional decorative score, transposed without the disturbing element characteristic of Klimt’s work.” But this disturbing element – “a sort of ambivalence between Eros and Thanatos”, recalls Pini –, is always present in Klimt: it was a foreboding sign of the looming wars of the Short Century; and, a hundred years later, it is still as relevant as ever.

（Antonella Galli）

didascalie e Crediti

Immagini della mostra’Klimt。L'Uomo，L'Artista，il suo Mondo’，Presso Galleria d'Arte Moderna Ricci Ricci Oddi E Xnl -Piacenza poserporanea，Piacenza

01Sezione I Seguaci Italiani，位于Adolfo Wildt的Primo钢琴，Carattere Fiero，Animo Gentile，1912年。Marmocon dorature，38×57×57厘米委内兹，Fondazione Musei Civici di Venezia -Galleria Internazionale d'Arte d'Arte Moderna di Ca’Pesaro。Sullo Sfondo，Felice Casorati，Il Sogno del Melograno，1912年。Liosu tela，138×134厘米Collezione Privata。Foto del Papa
02Sezione Klimt。勒图。在Primo Piano，Koloman Moser，Poltrona纪念碑，WienerWerkstätte，1904年Legno Intarsiato，67×57×106厘米，Collezione Privata，Francia-弗朗西亚 - 礼貌的Ed Gallery，Piacenza
03Sezione i Supties della secessione Viennese；古斯塔夫·克里姆特（Gustav Klimt），宣言per la i mostra della secessione dopo la Censura（26.03.1898-20.06.1898），1898 Litografia A Colli Su Carta，63,8×46,1厘米©Klimt Foundation，Vienna
04Sezione I Seguaci Italiani；ceramica smaltata di di galileo chini e vittorio Zecchin的Teca Con I Vasi，Vaso A Murrine，穆拉诺（Murano）唱片艺术家（Murano）
05 E 06Sezione Le WienerWerkstätte
07Sezione I Seguaci Italiani，Felice Casorati，Maschera Nera，Maschera Rossa，1914年，Terracotta verniciata，22×30×17,5厘米Ciascuna。Torino，Collezione Privata
08古斯塔夫·克里姆特（Gustav Klimt），Ritratto di Signora，1916-1917，Olio Su Tela，68×55厘米，Piacenza，Galleria d'Arte d'Arte Moderna Ricci Oddi。Foto del Papa
09Piacenza，Palazzo XNL，Ingresso della mostra
10Sezione i Supties della secessione Viennese；阿尔弗雷德滚子，宣言Per la Xvi Mosta della Secessione（17.01.1903-01.03.1903），1903 Litografia A Colli su Carta，Montata Su Tela，95,9×33,2厘米。©KLIMT基金会，维也纳
11Sezione i Supties della secessione Viennese；约瑟夫·玛丽亚·奥尔布里希（Joseph Maria Olbrich），宣言Per La II Mostra Della Secessione（12.11.1898-28.12.1898），1898 Litografia A Colli Su Carta，86,5×46厘米维也纳，克里姆特基金会
12Sezione Opere Giovanili，Foto del Papa
13Sezione Klimt E La Secessione Viennese，Josef Hoffmann的Primo钢琴，Poltroncina Triangolare，Per Il padiglione Austriaco All’esposizione per Il cinquantenario del regno d'Italia a roma，1911年，legno，72×63×44 cm udine，collezione private，collezione privata- private -collezione privata- piacenza，Piacenza，Piacenza
14Sezione“ ver acrum”
15Sezione I Seguaci Italiani，Vittorio Zecchin，Le校长E Guerrieri，1914年，Olio E Oro Su Tela，170x188厘米，委内兹，Fondazione Musei Civici di Venezia -Galleria Internazionale d'Arte Moderna，di Ca’Pesaro

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