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CARNIVAL OF VENICE 2017

posted by Home In Italy on February 3rd, 2017

That’s the theme of the Venice Carnival 2017, to be held from 11 to 28 February, for the second year balance in the hands of Marco Maccapani, an event that enchants year, thousands of people and will be dedicated to “creatum”, wanted to title by Same Maccapani Why centered on the ancient origins of Venice and very well connected Also the toponymy of the city with a particular sub-title, though, “Vanity AF (fair” Invite a satisfaction that the desire to belong, to overdo, to be someone else, or ten people even together alone for a day.

St. Mark’s Square, the hub site of the festivities, which will house the artisans through the excellence of the fruit of their work will tell the unique story of Venice. The audience will be entertained by the presence of mask makers, instrument makers, glass makers, tailors who will exhibit their wares in the shops of Piazza San Marco and show the beauty of their art. A real dive in the Venice of the ’700 with actors and masks that will emphasize the moments and the most important steps of all crafts. The trades more minutes will be presented through a large screen.

From 11 to February 28, Venice will be, as always, a huge stage set up in all areas, with many beautiful squares and Foundation news, events and changes. First of all the location of that exclusion from the Porta Nuova Tower at the Arsenale, typically “Venetian” for Venetians but not convenient to reach for tourists. There remain, however, in the program – always in the Arsenal – Small nights for young people starting at 23. Not mancanno certainly the Gala dinner to be held at Ca ‘Vendramin Calergi, in rooms where Richard Wagner composed his “Parsifal” .

To all this is added the inevitable feast of Marie on February 18, an important part of the Venetian Carnival. The parade leaves from San Pietro in Castello at 14.30, along Via Garibaldi and Riva degli Schiavoni to arrive in Piazza San Marco at about 16:00. The festival remembers and celebrates the tribute that the Doge of Venice brought every twelve gorgeous Venetian maidens of humble origins. The dowry consisted of jewels with the ducal crest. The festival is a unique opportunity to admire the costumes of the Venetian tradition and runs in several events that culminate each year in the election of Maria del Carnevale.

5 HIDDEN TREASURES OF THE AMALFI COAST NOT TO BE MISSED

posted by Home In Italy on February 1st, 2017

The Amalfi Coast is the stretched coastline of Campania, located south of the Sorrento Peninsula, overlooking the Gulf of Salerno; it is bordered to the west from Positano to the east from Vietri sul Mare. It is a stretch of coastline famous worldwide for its natural beauty, home to major tourist sites. Considered a World Heritage by UNESCO named after the town of Amalfi, the central nucleus of the coast, not only geographically but also historically. The Amalfi Coast is known for its diversity: each of the places of the coast has its own character and its traditions. But here are some less known places for tourists, yet very interesting, places connected to the history and tradition of the local people.

Pogerola of Amalfi


This characteristic village renowned for its tranquility, during the Middle Ages was known under the name of Castrum Pigellula. It was a real defensive castle which, together with Castrum Scalelle and a mighty wall, surrounded the town of Amalfi defending from enemy attacks. From the top of the hill you can admire the enchanting scenery of the Gulf of Salerno, from the Amalfi Coast up to the islands of Li Galli and further down, the villages of Lone and Pastena. Worth visiting the sixteenth century church of Madonna delle Grazie, in the main square, the church of San Michele of XII century and the church of Santa Maria Vergine of the twelfth century, with a nice porch covered with vaults.

Valle delle Ferriere


The setting of the reserve is very picturesque, full of waterfalls that create ideal conditions for the proliferation of a very rich flora and fauna. Here can you easily see the Woodwardia radicans, an endemic species of fern, and with a little bit of luck, one can encounter small and rare amphibians such as the newt Apennine. Going down towards Amalfi, the trial runs along some old abandoned paper mills that now prelude to the visit of a paper mill restored in the center. For its abundance of water, this valley has hosted in the past some mills and an ironworks. The metal came from Elba, landed at Amalfi and was transported by mule along the valley to the ironworks, where the work was done. The energy was supplied by the water and the head needed to melt was obtained by burning wood, available in abundance.

Fjord of Furore, Amalfi


Created by the incessant work of a creek that runs down the mountain into the sea, and hosted by a friendly and tiny fishing village, the fjord is also bypassed by the highway with a suspended 30 meters high bridge, from where, every summer, the World Great Heights Diving Championships take place.
A platform mounted at 28 meters heights, in front of the cliff overlooking the sea. It is the diving competition from great heights from the Fjord of Furore. A competition of great tradition and charm in a breathtaking setting in the small village of the Amalfi Coast, where hundreds of people watch the race from the ground but also from the boats anchored away from the shore of the Fjord in order to avoid the athletes to reach during their dive a speed of 100 km/hour.

Cloister of Paradise, Amalfi


The cloister, which is accessed from the left side of the atrium of the Cathedral (the portal with carved doorposts was once the entrance to the church-chapel of the Crucifix), was built in 1266-68 by the archbishop Filippo Augustariccio, used as a cemetery for distinguished citizens, as an peristyle of double columns that support highly acute and intersecting arches. Abandoned at the beginning of the century XVII and restored in 1908, it offers some frescoed chapels built during the period when the site housed the remains of the nobles.

Cathedral of Amalfi


The Cathedral of Amalfi is located at the top of a monumental staircase and dominates the main square of the small villages. The present façade with its porch is the work of the eighteenth century reconstruction. The tower bell dates back from the second half of the twelfth century; between this and the new façade you notice the pediment of the primitive cathedral of Amalfi, known as the Crucifix Chapel, dating from the tenth century. The body of the tower has typical characteristics of many buildings in Campania.
The top instead dates back to 1276 and consists of a central cylindrical core surrounded by four corner turrets. The reason why it seems to have a Calabrian-Byzantine origin is because this was often used in some towers of Campania, such as those of Salerno and Caserta.
The construction of the new cathedral which is parallel to the one of the tenth century started in the mid eleventh century.
In 1208 the Cardinal Capuano brought from Constantinople to Amalfi the remains of St. Andrew, who were placed into the crypt. During the following decades several works of embellishment and enlargement of the church were done, but the church however kept its original structure.
Under the porch you can still find the preserved original portal with its original Byzantine bronze door, there since 1065. The interior is in Baroque style although the original structure of the church is still recognizable. Dating back to the thirteenth century are the mighty Egyptian granite columns that support the triumphal arch. North of the church of the Crucifix, the cloister of Paradise extends, built between 1266 and 1268, as a cemetery for the burial of the famous people of the city.

CASTEL DEL MONTE, PUGLIA: BETWEEN FIBONACCI, ESOTERICISM AND HISTORY

posted by Home In Italy on December 2nd, 2016

Listed as a UNESCO World Heritage Site, Castel del Monte was built by Emperor Federico II in the thirteenth century, 18 km from the town of Andria, Puglia.

Castel del Monte has been studied by historians, architects and mere observers, based on assumptions and beliefs very different, sometimes irreconcilable: some see it “simply” as a magnificent building, a masterpiece of style, a comfortable mansion; others consider it a temple of high spirituality, an esoteric book, the culmination of the initiatory knowledge.

Castel del Monte is affected by the legendary and totalizing personality of Federico II and everything in the castle is based on the magic number 8. Moreover, the castle has many symbolic, mathematical and geometrical matches. The floors, fireplaces, windows, everything seems to follow the sequence of the famous mathematician Fibonacci.

References to astronomy are not missing: the columns at the entrance have two lions, one of them looks exactly in the direction where the sun rises during the winter solstice, while the other looks in the direction where the sun rises during the summer solstice.

If you go to Apulia, do not miss the opportunity to visit this magic castle!

Find out more about villas in Apulia!

BURRI HOSTS POLLOCK, RAUSCHENBERG, MIRÓ, CHRISTO AND OTHER BIG NAMES IN CITTA DI CASTELLO

posted by Home In Italy on November 18th, 2016

After the Guggenheim in New York and the Kunstsammlung Düsseldorf, the highly anticipated exhibition at the former tobacco drying, in Umbria for the closing of the centenary with an exhibition titled ‘Materia between Europe and the US Space’, just opened and remain open until January 6th , 2017 .

After the significant success of the exhibition ‘Alberto Burri “The Trauma of Painting” of October 2015 at the Solomon R. Guggenheim Museum in New York and the next stop at the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, the Celebration of the Centenary of the birth of the great Italian artist they end with a new exhibition event in Citta di Castello, his hometown.
The exhibition housed in the former tobacco drying, the exhibition presents an extensive survey on the most significant trends in contemporary art of the post-war period of the twentieth century, it seems possible to combine the art of Burri is as thematically prior to it is as contemporary or later with identified aspects of dialectical most obvious influence.

As stated by Richard Armstrong, Director of the Guggenheim Museum at the opening of the retrospective ‘Alberto Burri: The Trauma of Painting’, “the exhibition says the position of Burri as one of the most innovative artists of the period of the second world war. Burri created a new type of object, simultaneously painting and sculpture, which influenced later artists associated with new Dada, the Nouveau Realism and Postminimalism … “and, one might add, with the Italian Arte Povera.

These considerations there are others, no less fundamental for linguistic invention sprang from his work. Burri is in fact the artist directly and almost exclusively in the use of the material has got a brand new spatiality in the name of an “unexpected control” and a masterful balance that has qualified it forms. In setting, alongside a select group of works by Burri, 20, from tar to molds, from bags to humpbacks, from wood to burn, from the plastic knife, the cracks to cellotex until the ‘black and gold’, will be You can see works by masters protagonists of the twentieth and twenty-first century.

On display there are creations of Fautrier, Dubuffet, Pollock, Motherwell, Hartung, De Kooning, Wols, Calder, Marca-Relli, Scarpitta, Matta, Nicholson, Tàpies, Glue, Rauschenberg, Twombly, Johns, Fontana, Manzoni, Castellani, Hooks , Lo Savio, Klein, Rotella, Christo, Tinguely, Arman, César, Morris Sonnier, Beuys, Kounellis, Calzolari, Pistoletto, Pascali, Nevelson, Piene, LeWitt, Scajola, Mannucci, Leoncillo, Andre, African, Chamberlain, Capogrossi, Kiefer, Miro, Soulages and others.
Alongside works a photographic documentary of the repertoire and historical juncture between 1947 and 1989, including on the artistic current data, posters, brochures, catalogs, publications, videos, films, biographies, theoretical productions and other significant artworks.
It will wind along a separate path from the works themselves, facilitating the use of this particular cultural moment in history of art from the postwar period to the symbolic end of the cold War and the fall of the Berlin wall.

In a catalog there are collected essays and critical contributions of Peter Bellasi, Paola Bonani, Mario Diacono, Thierry Dufrene, Aldo Iori, Petra Richter, Luigi Sansone, Sarteanese Francesco Tedeschi, Italo Tomassoni, Denis Zacharopulos, Adachiara Zevi, preceded by introductory speeches Bruno Cora, curator and president of the Fondazione Palazzo Albizzini Collection Burri and Richard Armstrong, Director of the Solomon R. Guggenheim Museum in New York. The publication is supplemented by images of the exhibited works and the historical and bibliographical information about the artists.

Where to stay in Umbria.