DAVID LACHAPELLE - AFTER THE DELUGE

From today until September 13, Palazzo delle Esposizioni exposes the exhibition of David La Chapelle: After the Deluge.
There are more than 150 works on view.
In 2006, during a journey in Italy, the artist has chance of a private visit of the Sistine Chapel;his artistic sensibility is so unsettled by the beauty and power of Roman art that those elements give the ultimate drive to the necessity of a change of his artistic production.
The exhibition will focus on the works realized by the artist starting from 2006, when he produces the monumental series titled The Deluge.
Through the realization of The Deluge, modeled after Michelangelo's impressive fresco in the Sistina Chapel, the artist returns to conceiving works with the unique purpose to exhibit in art galleries and in museums.
After the Deluge, the American photographer begins to produce artwork with new aesthetical and conceptual concerns.
The most evident sign of the change is the vanishing of the human presence in the serial works, the living models, that in all the previous works have had a central part in the composition and in the message embodies by the image, disappear. The Car Crash, Negative Currencies, Hearth Laughs in Flowers; Gas Stations Land Scape, up to the most recent Aristocracy series, follow this new aestetic choice.
 To allow the public to know the "origins" of La Chapelle work before The Deluge, the exhibition also includes a selection of artworks that includes portraits of celebrities, from music to fashion and movies, scenes based on religious themes with surrealistic touches, references to masterpieces of art history and cinema.

NEW YORK STREET STYLE - 30th AVENUE

Ryan, Many and Dominique

FASHION PHOTOGRAPHERS - CORINNE DAY

Corinne Day was a British photographer,she left the school at 16 and it is noted in 1989 for a series of images made using his friends as models and portraying them with a knowing look and inside the world it describes. Typical representative of the new photography English,she influence on the style and perception of photography in the early 1990s has been immense. As a self taught photographer, Day brought a more hard edged documentary look to fashion image making, in which she often included biographical elements. Corinne begins publishing of independent magazines, then she was regularly commissioned by British, Italian and Japanese Vogue. Corinne Day was the photographer of a generation – the woman credited with launching Kate Moss’s career, she spent the 90s working for magazines from The Face to Vogue and establishing a raw, documentary-style aesthetic within fashion photography.

Kate Moss

Gisele Bundchen

Natalie Portman

Scarlet Johansson

Gemma Ward

Jessica Stam

Jessica Stam

Freja Bhea Erichsen

Freja Bhea Erichsen

Kate Moss

Lou Doillon

Rosemary Ferguson

Kate Moss

MATISSE-ARABESQUE

In this exhibition are told the oriental suggestions that influenced Henri Matisse. I want to focus mainly on the costumes that he created for the theater.
In summer 1919 Sergej Diaghilev and Igor Stravinskij invited Matisse to devise sets and costumes for Le chant du rossignol, one of the new production for the Ballets Russes.
Le Chant du rossignol, which would become the orchestral score for the ballet staged for the first time in 1920 with choreography by Léonide Massine.
Based on Hans Christian Andersen's tale The Nightingale , the ballet tells the story of an Emperor of China who prefers the cold warbling of a mechanical bird to the sweet song of a nightingale. But at the bedside of the seriously ailing Emperor it is the living nightingale that staves off Death with its melody, reviving the sovereign to the joyful surprise of the whole court.
So for Matisse the occasion was an opportunity to share with other visionary natures his aesthetic research and the experience of a total fusion of the arts:dance, music, theatre and painting as elements of an unrepeatable vision orchestrated around a single principle. A harmonious composition of colours, forms and lines in which to transpose, extending them, the fundamentals of his artistic research:decorativism, his intense fascination with East and his passion for fabrics, so evident in his painting.
The colours for the sets were limited to a few, decisive shades, from turquoise to black to white, while for the costumesMatisse risked radiant accords of white and black, pink and gold, oranges and reds in a sparkling of signs, like broad brushstrokes.The stage set was like a picture with colours in movement. These colours are the costumes themselves.
The decoration was orchestrated in perfect balance between two distinct formal solutions:abstract simplicity of lines- architectonic structure of the set, the clothing of the mournes, curtains, diffused floral motifs- and ornamental orientalising richness- costumes of emperor, warriors, accessories and many iconographic elements.
Matisse's personal interpretation of oriental art seemed too refined and abstract in comparison with the magnificent excess of traditional interpretations of a marvellous Orient.

Oriental inspirations

sketches

Final scene of "Le chant du rossignol"

Henri Matisse and Léonid Massine

Roma - Scuderie del Quirinale - until June 21