Jackson Pollock. The figure of fury


Banner of the exhibition

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“Lee” by Beatrice Brandini

Today I was invited to  the press presentation for an exhibition which opens tomorrow at  Palazzo Vecchio and San Fiore, in Florence, Jackson Pollock. The figure of fury. From April 16 to July 27. This exhibition is very important for various reasons. The first is that Pollock has never been exposed to Florence, the second because it connects two protagonists huge art as Michelangelo Buonarroti and just Pollock, apparently at odds , more deeply, not so much, for the third … see Pollock figurative is really a big surprise, as well as a discovery.. Finally, because also if I love Florence, is  my city and the culture it exudes in every corner and end, I am happy that we go beyond the Renaissance, the sixteenth or seventeenth century,  giving the city, and its cultural events, a more modern impression … speaking of the twentieth century and an artist like Pollock, of that century that was among the protagonists.

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View of the Palazzo Vecchio, Piazza della Signoria, Florence

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Salone del Cinquecento in Palazzo Vecchio

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Paintings by Giorgio Vasari,  Salone del Cinquecento

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“The Genius of Victory”, by Michelangelo Buonarroti    Series of the “Twelve Labors of Hercules” by V. de’ Rossi 

The press conference was held in the hall of the sixteenth century, already this room would be the ticket to the exhibition … within the beautiful tables of Vasari, important and impressive sculptures, one by Michelangelo Buonarroti “the Genius of Victory”, so it was a destiny …..

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Jackson Polock “Untitled”, 1937-39 The Metropolitan Museum of Art, New York

The best thing about this show is that the meeting of Pollock with Michelangelo studied and examined during its formation, brings together two souls are very similar to each other, I would say that both, teacher and pupil, on the one hand have the strength, anger, fury (of course), and the power, translated into their art and in their feel, on the other,  humanity, the pain, the agony …. they live together as two souls and two very different personalities, almost conflict between them, a kind of battle between “good and evil” .. where you don’t exit victorious, if not in the name of art.


Jackson Pollock, “Square Composition with Horse” 1937-38.  GNAM in Rome

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Jackson Pollock, “Panel with four Design”, 1934 – 38. Washburn Gallery, New York      “The Water Bull”, 1946. Stedelijk Museum, Amsterdam 

The curators of the exhibition, Sergio Risaliti and Francesca Campana Camparini, also on the occasion of the 450th anniversary of the death of Michelangelo, they decided to pay homage to him in his place, putting the figure of Pollock, tortured genius and rebel, to that of the master of the Renaissance, by a part of the art perfect, noble and rational of the sixteenth century, from the other the art free and irregular by Pollock. But both, as mentioned, restless and with the same “wild” approach in the technique. Climbing for his greatest masterpiece, the frescoes of the Sistine Chapel, Michelangelo,  without a tripod directly on a canvas lying on the ground, Pollock.

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Glimpses into the Palazzo Vecchio to get to the Hall of Lilies and of the Chancellery, which exhibits the works of Pollock

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Ceilings …

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Pollock at work …. 

Pollock was off color, even color drops, with the technique of dripping, without a basic design, without a project, creating what was later called the current Action Painting, which also were part of painters such as Kooning and Franz Kline. This artistic movement focuses on the action of painting, questioning everything, especially the conscience of the world and of the human being, encouraging the viewer and almost forcing him to live the picture looks.

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Jackson Pollock  “Untitled”, 1944. Washburn Gallery di  New York      

“ Painting  A, 1950. GNAM di Roma “I do not paint on the easel. I prefer to fix the paintings on the wall or on the floor. I need the opposition that gives me a hard surface. On the floor I am more at ease. I feel closer to the painting, almost like I was a part of him, because that way I can to walk around it, work from all four sides and literally be “within” the painting. This approach is similar to that of “Sand painters” Indians of the West. “. Jackson Pollock

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Jackson Pollock’s “Composition with Pouring Black” 1947. The Olnick Spanu Collection, New York.       “Earth Warms, 1946. Tel Aviv Museum of Art 

The exhibition’s title “the Figure and the Fury,” refers to gestures of Pollock himself in the act of painting, turning around the canvas, almost dancing with passion and fury …


Lillies hall, home shows Jackson Pollock’s “The figure of fury.” 

On display are paintings and engravings of Pollock, granted by international museums and private collections, some are expressions of his unique style, others much less “discounted”, especially the 6 designs that Pollock did early in his career inspired by the naked Michelangelo’s Sistine Chapel, exceptionally granted by the Metropolitan Museum in New York, a trait d’union between these two artists.


Facade of the Palazzo Vecchio 

The exhibition is divided into two branches, the other is in San Firenze complex, specifically in the Music Room, where they offer movies and projections about the life and art of this American artist and where you want to interact with the viewer, reproducing its spaces, the music he listened, colors, etc. etc..

Pollock scritta

It’s an exhibition “difficult”, this one,  not obvious and also a bit’ risky … but as with all things new and different, they have, among other things, the ruthlessness of chance, a willingness to experiment …, who decides this way has my highest consideration and one more reason to see what it does …  When fashion is inspired by art ….

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Frankie Morello

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Thom Browne e Tods

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Maison Martin Margiela e Hussain Chalayan

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Some clothes that would have liked to Peggy Guggenheim by Beatrice Brandini

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Good life to all!


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