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In art, the fictional town of a country lost

"A-arms, language, altar, memories, blood, heart." Manzoni Italy is the exhibition for the 150th anniversary of the unification at the Quirinal Stables in Rome. 1861, The painters of the Renaissance, a fresh review, all red shirts, tricolor and altars of his country where, walking, seem to hear the trumpets of Garibaldi's troops. Both color and folklore and spirit of the nineteenth century academic and eclectic, enormous paintings of battles, however, are paintings in which to lose yourself to contemplate the death of our young patriots, always heroic and never cruel. Sublimated from popular aesthetic that is clearly aimed at his goal, showing how the Risorgimento was a serious matter.
unite the people around the civilization of technology to contribute to a collective mission of emancipation and progress, this sense of the epic national and nine years later would bring the capital to Rome, beginning the most important period of reform and public works public that the country has ever known (often greater than that inappropriately praised fascism). Schools, hospitals, roads, bridges, railways, ports, universities, libraries, museums, research centers, cities, water systems, housing, industrial districts, eventually made for the project that led to the unit. A project bourgeois determined to involve the people in all its varied composition, from young to old, from farmers to artisans, and intellectuals to scientists. Just who in a famous painting of Napoleon and Nicholas Daniele Manin Nani lead Tommaseo in triumph in Piazza San Marco in Venice, or in a painting by Gerolamo Induno joyfully accompany the descent Garibaldi at Aspromonte. What is the Risorgimento
was a crucial moment, it can be seen also in art so mistreated during those years which focuses on the review of the Stables. From 1830 to the end of the century, where stands the aesthetic or novelty. Where there is, indeed, a discrepancy with what was happening in Europe, particularly French art, where eclecticism was diluted by other forms of avant-garde research. A historical delay, however, fully justified in a country that has just seen the light and that has to build its national identity by putting together the pieces of a history and geography as diverse as rich. That's so, the canvases off the time of Jerome Induno, Michele Cammarano, Ippolito Caffi, Francesco Hayez and many others, the echoes of the Renaissance chromaticism, the views of Canaletto, the gradient of a Carracci Baroque, the battles of the Cavalier d'Arpino or interior of popular Bamboccianti. Nothing to Courbet aesthetic realism, romanticism aware nothing to Delacroix. But the return, resurrected by the Academy, the Italian tradition of pictorial genres, from history painting to that of gender. All this, and thought in the nineteenth century in the filter name of a new national culture - at once aristocratic and popular, that is - of a united Italy.
a new nation and perhaps a bit 'naive, that you can see the stables, which raises nostalgia almost. As the operation culture of many artists who have contributed, sometimes anonymously, to the creation of a landscape, a national imaginary that stand to this day. I do not perhaps show the advertising campaign of Berlusconi, all focused on the artistic, architectural and landscape of our country? Or the enthusiasm with which the Italians took part in a few years ago the choice of monuments to be put behind the new €? A wealth of images and symbols typical of a young and strong community that was able to federate with determination around a common project and build with art and culture, codes of its long-term stay together.
pity, then, that the aesthetic unity and civilization typical of all the paintings of show has not translated into a company then realized, industrialization in uniform, in a fully Western modernity.
pity that the Italian landscape was not only enriched by the creations of the new civilization, but have now largely an urban sprawl, aggressive, violent predator who has disfigured his face. A real tragedy and destruction of illegal buildings that has the name of the Gulf of Naples, the new quarters and the historic center of Palermo shattered, the outskirts of Reggio Calabria, places now forgotten or snubbed by the tourists who have havens in the paintings of the nineteenth the Grand Tour a pity, then, that the fresh enthusiasm of the Renaissance and forward to the Stables Quirinale has been so sadly betrayed. Too bad though, as the exhibition reveals, there remains a cultural heritage of images, symbols, tenacious and full of vitality. A heritage from which to start.