The Uffizi Gallery in Florence, Italy has an extensive collection of art from all over the world. The director of this famed gallery is now giving paintings new life by turning them into politically charged street art!.
The “Uffizi director transforms fine art into a firebrand” is about the Uffizi Gallery in Florence, Italy. The gallery has been under the care of its director since 1901, who has transformed it from a museum to an institution that is more like an art school.
The two-century-old French rallying cry “l’art pour l’art” has to be retired. Painting and sculpture need more than just a breath of the rarefied air of museums. They must be connected to current events.
Eike Schmidt, the director of the Uffizi, told the press this. “It is without a doubt our responsibility to address social concerns wherever we can; otherwise, what is the point?”
In a 1945 interview, Picasso responded to Schmidt’s question: “Apartments are not decorated with painting. It is a weapon of battle used to attack and defend against the opponent.” Who is your adversary?
During the Spanish Civil War, Picasso was in Germany. Right now, it’s violence against women, according to Schmidt. He believes that exhibitions should confront the “toxic societal systems” that still exist today.
Schmidt gestures to a bust of Costanza Bonarelli, his girlfriend, in the Uffizi’s 17th-century sculpture by Gian Lorenzo Bernini. When she left him for another, he sliced her face, leaving a significant scar on her left cheek. While they were still dating, he created the bust.
Education in the arts
“This is a world-famous bust,” Schmidt remarked, “yet barely anybody understands her biography outside of the community of experts.” Bernini’s assault should be included in an exhibition of this sculpture, he believes, since the artist was spared.
Unless you consider the punishment imposed by Pope Urban VIII. He advised Bernini to marry. Constanza, on the other hand, was dubbed a whore and sentenced to a nunnery for four months.
When the painter Agostino Tassi raped his student, Artemesia Gentileschi, there was a comparable lack of responsibility for a violent crime against a woman.
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Despite being found guilty after a four-month trial, his punishment of exile from Rome was never carried out.
Schmidt juxtaposed Bernini’s bust of Constanza with photos by modern photographer Ilaria Sagaria of women injured by acid assaults in order to educate museumgoers about Constanza’s tale.
Schmidt said, “I really wanted to highlight this link between a piece of art that is naively adored and adds to Bernini’s popularity [and] the extremely problematic aspect of Bernini that was socially acceptable at the time.”
a new perspective
While this museum director connects a social problem to works in the Uffizi’s Old Master collection, political activists recognize the importance of museum art as well.
In 2019, climate-change activists conducted a “die-in” at the Louvre to protest the museum’s acceptance of oil corporate funding.
They slept beneath Gericault’s artwork Raft of the Medusa to protest. The bleak picture of dead and dying seamen became their unsaid warning of mortality due to climate change-related floods, fires, and drought.
There are a bevy of artworks that campaigners would want to ponder when it comes to global warming. The Kunstmuseum in Basel, Switzerland, has Franz Marc’s Fate of the Animals. Its jagged crossing bits allude to nature’s, if not the whole world’s, devastation.
Perhaps art museum collections will persuade anti-vaxxers to get their vaccinations.
I’m thinking of Max Beckmann’s picture in the Kunstsammlung in Dusseldorf, which is densely packed with twisted, angular figures slamming into one another.
If ICUs continue to flood with Covid patients, activists might link Beckmann’s artwork to the way they appear. The scene’s harshness is amplified by the harsh lines and abrasive texture.
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