Brice Marden

An hour with artist Brice Marden

Art 21: Season 4

 Art:21 Art in the Twenty-First Century: Season 4 (Video N 6512.7 .A78 2007 DVD)

From the website:

“Art:21 travels across the country and abroad to film 17 contemporary artists, from painters and sculptors to photographers and filmmakers, in their own spaces and in their own words. The result is a rare opportunity for television viewers to experience first-hand the complex artistic process—from inception to finished product—behind some of today’s most thought-provoking art. The artists profiled in the series speak directly to the audience, describing their passions, impulses and methods. Viewers are invited behind-the-scenes to see artists at work in their studios, homes, communities, and in sites as diverse as an old-growth forest near Seattle, a military base in California, a theater academy in Warsaw, and a film set, in addition to galleries and museums.“This series not only showcases the contributions of these artists, but also transcends the everyday art experience of a museum or gallery visit,” says Susan Sollins, Executive Producer of the series. “Viewers can discover what goes on inside the minds of these dynamic and thoughtful people, and what they have to say can significantly expand our knowledge and understanding of the world.”

As in the previous three seasons of “Art:21–Art in the Twenty-First Century,” each hour-long episode of Season 4 is loosely structured around a theme that unifies the individual artists – as diverse as their mediums may be. Season 4 episodes of “Art:21–Art in the Twenty-First Century” include the themes of “Romance,” “Protest,” “Ecology,” and “Paradox.”

What role do intuition, emotion, fantasy, and escapism play in contemporary art? The Art:21 documentary “Romance” explores these questions in the work of the artists Pierre Huyghe, Judy Pfaff, Lari Pittman, and Laurie Simmons.

How do contemporary artists engage politics, inequality, and the many conflicts that besiege the world today? How do artists use their work to discuss or oppose misery, turmoil, and injustice? The Art:21 documentary “Protest” explores these questions in the work of the artists Jenny Holzer, Alfredo Jaar, An-My Lê, and Nancy Spero.

How is our understanding of the natural world deeply cultural? The Art:21 documentary “Ecology” explores these questions in the work of the artists Robert Adams, Mark Dion, Iñigo Manglano-Ovalle, and Ursula von Rydingsvard.

How do contemporary artists address contradiction, ambiguity, and truth? The Art:21 documentary “Paradox” explores these questions in the work of the artists Allora & Calzadilla, Mark Bradford, Robert Ryman, and Catherine Sullivan.”

New DVD — Picasso

Picasso: Magic, Sex, Death (Video Picas .P5 P53 2001 DVD)

“Offering a comprehensive look at the artist’s life, Picasso: Magic, Sex, Death examines the influences and secrets behind many of Picasso’s masterworks. In this documentary, John Richardson, biographer and friend of Picasso, looks at the impact the themes of magic, sex, and death had on the artist’s life and work. ”

“Part I of this film investigates the effect mystic rituals and the occult had on Picasso’s work by looking at the artist’s childhood in Spain and his life in Paris through the end of his Cubist period. Richardson brings a new twist to some of the more intriguing issues surrounding Picasso’s life and achievements.”   

“ Part II of this film navigates the many women in Picasso’s life to the time of his death in 1973. Focusing on the artist’s relationships—from his wife Olga Koklova to his many mistresses—Richardson examines the various depictions of women and sex in Picasso’s vast oeuvre and discusses the last years of his life, those marked with an ongoing struggle to remain youthful and vigorous. The film includes an intriguing look at the masterpiece Guernica, with an introspective interpretation of the famous painting as a commentary on Picasso’s own love life and concludes with a revealing contribution by one of the artist’s lovers and subjects, Françoise Gilot.” 

New DVD — Rashomon

Rashomon (Video PN 1997 .R244 2002 DVD) 

From Criterion’s website:

“Brimming with action while incisively examining the nature of truth, Rashomon is perhaps the finest film ever to investigate the philosophy of justice. Through an ingenious use of camera and flashbacks, Kurosawa reveals the complexities of human nature as four people recount different versions of the story of a man’s murder and the rape of his wife. Toshiro Mifune gives another commanding performance in the eloquent masterwork that revolutionized film language and introduced Japanese cinema to the world.”  Read Stephen Prince’s essay here.

Special Features

• - New high-definition transfer, with restored image and sound
• - Commentary by Japanese film historian Donald Richie
• - Video introduction by Robert Altman
• - Excerpts from The World of Kazuo Miyagawa, a documentary film about Rashomon’s cinematographer
• - Reprints of the Rashomon source stories, Ryunosuke Akutagawa’s “In a Grove” and “Rashomon”
• - Akira Kurosawa on Rashomon: a reprinted excerpt from his book Something Like an Autobiography
• - Optional English-dubbed soundtrack
• - Theatrical trailer
• - New and improved English subtitle translation
• - Optimal image quality: RSDL dual-layer edition

New DVD–The Gates of Hell

 Rodin – The Gates of Hell (Video Rodin .R7 A69 2006 DVD)

“In 1880, Auguste Rodin was commissioned to create a set of bronze doors for a proposed museum in Paris. The museum was never built, but The Gates of Hell became Rodin’s most ambitious endeavor, taking over twenty years to complete.

During Rodin’s lifetime, The Gates was exhibited only once, in plaster. In 1977, Rodin’s intention of casting the plaster in bronze was fulfilled when American art collector and financier B. Gerald Cantor and his wife, Iris, commissioned a casting of the monumental work using the traditional and painstaking lost-wax process. When finished, it stood nearly 21 feet high and had taken more than three years to complete. This cast of The Gates of Hell was the first time in more than a century that such a large-scale lost wax bronze pouring had been attempted.

This DVD documents the triumphs and difficulties encountered during the casting of this eight-ton work and chronicles the life and work of Rodin –from the challengers of his early career to his later years of success and fame.”

more info here and here.

New Books–MoMA

Lucian Freud: The Painter’s Etchings (M Freud .F77 F53 2007)

“One of the foremost figurative artists working today, Lucian Freud has redefined portraiture and the nude through his unblinking scrutiny of the human form. Although he is best known as a painter, etching is integral to his practice. This volume accompanies a major Museum of Modern Art exhibition that will present the full scope of Freud’s etchings, along with a critical selection of related paintings and drawings. Written by exhibition curator Starr Figura, it includes more than 70 etchings-from the artist’s rare early experiments of the 1940s to the increasingly complex compositions he has created since rediscovering the medium in the early 1980s-juxtaposed with some 23 paintings and 7 drawings. Includes 120 color illustrations.”

Martin Puryear (M Purye .P84 A4 2007)

“Over the last 30 years, Martin Puryear has created a body of work that defies categorization, creating sculpture that examines identity, culture and history. This book accompanies a November 2007 exhibition at The Museum of Modern Art that follows Puryear’s development from his first solo show, in 1977, to new works that will be presented for the first time. In 2008 the exhibition will travel to the Modern Art Museum of Fort Worth, Texas, The National Gallery of Art, Washington, D.C., and the San Francisco Museum of Modern Art. Includes 165 color illustrations.”

Edit: Someone brought a camera into the MoMA exhibit.  See below.

New Books — William Merritt Chase

“A perennial favorite of museum visitors, the works of William Merritt Chase (1849–1916) embody the quintessential characteristics of American Impressionism: outdoor landscapes, a colorful palette, and an energetic brushstroke. He was also a portrait painter of the first rank, a master of still life, a renowned teacher, and a leader of artists’ societies.”

William Merritt Chase: The Paintings in Pastel, Monotypes, Painted Tiles and Ceramic Plates, Watercolors, and Prints (M Chase .C48 P57 2006)

This gorgeous book, the first of a four-volume definitive catalogue, features Chase’s stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolors; and prints. Reconstructing Chase’s oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase’s paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase’s work during the artist’s lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase’s innovative pastel technique.

William Merritt Chase: Portraits in Oil (M Chase .C464 A4 2006)

This second of four volumes presents the entire collection of Chase’s known portraits in oil. Each is gorgeously reproduced, and many are published in color for the first time. Finding many of his portraits was especially difficult, as no log book of sitters has been located and no other records exist for those works that were not publicly exhibited. Nevertheless, Ronald G. Pisano’s meticulous research has uncovered more than six hundred portraits in private and public collections.

New Book–The Gates of Paradise

The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece (M Ghibe .F6 G43 2007)

After more than 25 years, the conservation of Lorenzo Ghiberti’s doors for the Baptistery in Florence—called the Gates of Paradise—now in the Museo dell’Opera del Duomo, is nearing completion. This exhibition provides the American public with an unprecedented opportunity to see three of the doors’ famous narrative reliefs, with their masterful retelling of Old Testament subjects, as well as four figural sections from their opulent surrounding frames, before they are permanently installed in the museum. The panels and elements from the doorframe—two of its supremely elegant figures of prophets and finely modeled heads set in roundels—represent the sculptor’s intense involvement in this project, a seminal monument of the Italian Renaissance, during the 27 years (1425–52) of its creation.”

“This extensively illustrated book displays the full glory and elaborate details of many of the newly restored bronze panels, the extraordinary work of the conservators and restorers who cleaned the priceless doors. In a series of fascinating chapters, expert contributors capture Ghiberti’s world, his remarkable talent at representing human emotion in rich illusionistic settings, the relationships between Renaissance patrons and artists, and the collaborations and rivalries among artists. Other chapters explore the challenging craft of bronze sculpture, Ghiberti’s casting and finishing techniques, and the painstaking process involved in documenting and restoring the treasured doors. A chronology of Ghiberti’s life completes this lavishly produced volume”

New Books — Ji Dachun

Ji Dachun (M Ji .J436 A4 2007) 

 

” Painter Ji Dachun’s poetic use of pencil, ink and white space has always resonated with traditional Chinese portrait painting. But the satirical content of his work remains as contemporary as it is compelling–whether taking on Picasso, Duchamp or the male anatomy. In this beautifully designed, beautifully printed monograph, each work takes as its inspiration a well-known tale, popular advertisement or television commercial upon which the artist transposes his own ironic take. With subversive wit, Ji Dachun examines the complex rapport between the East and the West, infusing his paintings with a grotesque sense of humor and a serendipitous sensibility. Keeping with the precedent of his earliest paintings, esoteric compositions of lines and amorphous forms heavily influenced by the American artist Cy Twombly, Ji Dachun here works with pencil and gouache to create finely detailed images with a bite.”

New Book–Stephan Balkenhol, Wim Delvoye, Marc Quinn.

Intersections: Balkenhol, Delvoye and Quinn (NB 497 .C84 F58 2007)

From the website:

 Three artists with international reputations for the third edition of Intersezioni, now an established sphere of cross-fertilization between contemporary sculpture and archaeology.
The scenario which many of the leading European artists desire to explore with their works is the Archaeological Park of Scolacium, the locality that derives from Minervia Scolacium, the colony Rome founded in 123-122 B.C. on the site of the Greek city of Skylletion. Projects were installed here by Antony Gormley in 2006, with Time Horizon, and in 2005 by Tony Cragg, Jan Fabre and Mimmo Paladino.

The decision to bring together the poetics of Stephan Balkenhol (Frizlar/Hessen, Germania 1957), Wim Delvoye (Wervik, Belgium, 1965) and Marc Quinn (London, 1964) was by no means casual.
Working with absolutely independent techniques, modes and poetics, the three artists, members of the same generation, have succeeded in grasping the evolution of sculpture by placing themselves in a dialectical relationship with the history of art, understood as a shared cultural stock on which they draw. If Balkenhol’s carved wood figures allude to the mediaeval tradition and the North European Renaissance, Delvoye’s creations in corten steel evoke Gothic, while Quinn, with his marbles, bronzes and concrete, reworks the very concept of classicism.
The contemporary work of art relates itself directly to the sign of history, seeking a new collocation for it.
This year we are witnessing an integrated project which, for the first time, also involves the important Archaeological Museum of Scolacium, with three sculptures by Quinn placed near to the Olive Press Museum, the oil mill which is an outstanding example of industrial archaeology.
All this supplements a project that involves the three emblematic places of the Park of Scolacium: the Basilica of Santa Maria della Roccella, the Forum and the Roman Theater.

Stephan Balkenhol has chosen to install his work on the site of the Norman Basilica of Santa Maria della Roccella. Here Das Boot, his vessel 8 meters long and weighing 5 tons, has made landfall. Sculpted in wood, it has two figures, one male, the other female, on its two sides. Almost a legendary evocation of an ancient ship. Das Boot appears like a wreck that has surprisingly returned to light in a context extraneous to it. Next to a series of characteristic works in painted wood and bronze that counterpoint the Basilica, the German artist has sought to pay homage to Scolacium, a place preserved for centuries by the olive trees. He symbolically crowns the Park of La Roccelletta with his Krone, a crown made up of 22 pieces in concrete with nine heads likewise in concrete. The project is completed by the retrospective exhibition in the nearby Olive Press Museum with a selection of works from the late nineties down to the present.

The neo-Gothic installation of Wim Delvoye is located in the zone of the Forum, in which his chosen style acquires a wholly extraneous allegorical and paradoxical force. Working on this theme, the Belgian artist has already presented his works in different contexts, but the project set in the Park of Scolacium is surely one of the most impressive and ambitious. Delvoye has created a true construction site in which each machine is transformed into a work of art frozen in its inactivity. The two mysterious Caterpillars nine meters tall have an extraordinary impact, as does the Dump Truck, another nine-meter vehicle: they transform the Park into a permanent construction site, opened during the exhibition with excavators, signals and barriers all strictly laser cut in corten steel with tracery patterns in which the fourteenth and fifteen centuries are blended with industrial design.

In his personal dialogue with classicism, Marc Quinn investigates the poetics of the fragment and uses the context of the Roman Theater as the setting for Flesh, a series of bronzes with a black patina in which the British artist investigates the organic element by presenting on the stage meat carcasses that, within the archaeological context, acquire the semblances of truly spectral figures. For the first time, he here exhibits two very recent works in concrete, the Hoxton Venus of 2006 and Totem of 2007, true fragments of contemporaneity. The installation is continued conceptually within the Archaeological Museum of Scolacium, which he uses as the setting for three white marble sculptures, Alexandra Westmoquette, Tom Yendell and Peter Hull. In this case the fragment underlies a new unity and is directly related to the headless ancient Roman sculptures, so creating a series of comparisons and richly productive relationships.

New Books–Sculpture

 Unmonumental: The Object in the 21st Century (NB 198.6 .U56 2007)

“Unmonumental” is an exhibition about fragmented forms, torn pictures and clashing sounds. Investigating the nature of collage in contemporary art practices, “Unmonumental” also describes the present as an age of crumbling symbols and broken icons. Inspired by the art it presents, “Unmonumental” grows over time like an assemblage. It starts as a survey of recent sculpture, and morphs as layers of images, sounds, and Internet-based art are added in three subsequent parts.

The first exhibition in the cycle, “Unmonumental: The Object in the 21st Century” (December 1, 2007 – March 30, 2008), explores the reemergence of sculptural assemblage. This exhibition focuses on a specific form of contemporary sculpture that juxtaposes disparate elements for suggestive effect. These sculptures display an additive quality that gives them a distinct informality: conversational, provisional, at times even corroded and corrupted, they are un-heroic and manifestly unmonumental. More info here.

A Sculpture Reader : Contemporary Sculpture Since 1980 (NB198 .S35213 2006)

“A unique anthology of articles on contemporary sculptors drawn from the 25-year history of Sculpture magazine, A Sculpture Reader offers a valuable overview of three dimensional art since 1980. Focusing on individual artists rather than themes or movements, the 42 essays in A Sculpture Reader capture the wide-ranging possibilities that characterize contemporary sculpture.”

Romare Bearden

Romare Bearden: A Black Odyssey (M Beard .B355 A4 2007)

“In 1977, Romare Bearden (1911–1988) created twenty collages based on episodes from The Odyssey, Homer’s ancient Greek poem. Romare Bearden: A Black Odyssey is the first full-scale presentation of these works since they were originally shown thirty years ago. The exhibition also includes additional compositions relating to Bearden’s interest in classical themes and will examine his motivations in creating these works within the context of the Odysseus Series and his overall oeuvre. The exhibition is accompanied by this 112-page full-color case-bound catalogue with an essay by Robert G. O’Meally, scholar, Zora Neale Hurston Professor of English and Comparative Literature at New York’s Columbia University, and founder of the Center for Jazz Studies.

Download bigger ARTstor images

We are very pleased to announce that over 95% of the images in the ARTstor Digital Library are now available for download at 1024 pixels on the long side. (they used to be available for download at only 400 pixels on the long side).

In response to feedback from our user community, and as a result of the relationships that we have been building with content owners, we are now making available approximately 95% of the images in the Digital Library available for larger download at 1024 pixels on the long side. This new download capacity is part of ARTstor’s ongoing effort to facilitate broad access to digital images for teaching and scholarship. Users will be permitted to download these large JPEG images for use in classroom presentation and for other noncommercial, educational uses in the software environment of their choice. Users can also continue to download images at up to 3200 pixels for offline presentations by using the ARTstor Offline Image Viewer (OIV).

The ARTstor Digital Library includes more than 80 collections totaling more than 700,000 images. To use ARTstor, sign up for an account on any computer on the Academy’s campus. Once you’ve done that, you can access your account from anywhere. If you have any questions, ask at the library.

$8,000 per gallon…for ink

via arstechnica:

“A Boston man has filed a class-action lawsuit accusing hardware maker HP and office supply retailer Staples of colluding to inflate the price of printer ink cartridges in violation of federal antitrust law. According to the suit, HP allegedly paid Staples $100 million to refrain from selling inexpensive third-party ink cartridges, although the suit doesn’t make it clear how plaintiff Ranjit Bedi arrived at that figure.

For most printer companies, ink is the bread and butter of their business. The price of ink for HP ink-jet printers can be as much as $8,000 per gallon [The Financial Times], a figure that makes gas-pump price gouging look tame. HP is currently the dominant company in the printing market, and a considerable portion of the company’s profits come from ink.

The printer makers have been waging an all-out war against third-party vendors that sell replacement cartridges at a fraction of the price. The tactics employed by the printer makers to maintain monopoly control over ink distribution for their printing products have become increasingly aggressive. In the past, we have seen HP, Epson, Lenovo and other companies attempt to use patents and even the Digital Millennium Copyright Act in their efforts to crush third-party ink distributors.”

Marketing The Arts

via The Resource Shelf:

New Webcast Available from MIT: Marketing the Arts: The Secret Weapon
Presentation by Michael Kaiser, President, John F. Kennedy Center for the Performing Arts
Recorded on June 9, 2007, Running Time: 52 Minutes.

Kaiser’s talk focuses on marketing, the kind that “creates excitement around an organization.” In his efforts to restore flagging dance, theater and opera groups, Kaiser often contends with boards that assume paring down performances and cutting labor costs is the only way back to fiscal health. Kaiser advocates a contrary strategy: an artistic group can thrive only by taking artistic risks, investing in bold ventures and communicating inventively to the public, what he calls “dense institutional marketing.”

He offers a case in point: the Alvin Ailey Dance Theater, which in 1991 was $1.5 million in the red, and on the verge of laying off dancers. He generated a series of special events to spotlight the dancers and choreography. The two-year effort included landing prime appearances on the Phil Donahue show and at Bill Clinton’s first inaugural gala, an exhibition at the Smithsonian, a sponsored performance in Central Park, and multiple books, including one edited by Jackie Onassis. Kaiser’s persistence paid off, with a doubling of private fundraising.

He frets that a lot of arts organizations in the U.S. began “falling down after 9/11, pulling back on creativity and innovation, afraid of losing their audience.” Kaiser is emphatic: “When you pull back on risk taking, you pull back on the revenue stream. That’s why arts are suffering today.”

Source: MIT World

“Flat Art” from The British Musem

From the Guardian:

“The British Museum [has] quietly launched its comprehensive website of what it calls flat art: mostly so far its enormous collection of prints and drawings. The drawings, 50,000 of them, have all been catalogued; the prints, by no means.

The effort goes back a long way. In 1990 a team of four staff began cataloguing the drawings. It took them 10 years. At present there are on any given day eight people at work on the online catalogue, plus volunteers. What they are feeding into the system is not just the subject, author, dimensions and technical details, but also, where relevant, the scholarly literature on a given drawing, its full provenance, who gave it to the museum and when. From any entry you can then find out, for instance, what is known about the donor of the object (many of the gifts go back to the 18th century).

If you look up everything under, say, Hockney, you find a Rembrandt drawing included, on the grounds that Hockney once waxed lyrical about it. If you look up Rembrandt you will find prints and drawings made by him, fakes, copies after him, images of him and so forth. …

The website is unrestricted and you can print off any image. A battle was won before this was allowed to happen, and the result is that anyone – student, teacher or amateur – can get hold of a decent A4 reproduction of the drawing or print they are interested in, for personal use. For scholarly use, there will shortly be an automatic downloading option that gives a free image (for use in a scholarly article or book) of a suitable quality for reproduction. This is going to make an amazing difference in academic life, and it is part of a general trend (begun by Mark Jones at the V&A) of public institutions not charging for educational use of copyright material.”

Stefan Kurten

Stefan Kurten : Shadowtime (M Kurte .K875 A4 2008)

Stefan Kürten’s paintings investigate the house as site of warmth and comfort, as idyll and symbol of a desirable lifestyle. He works from black-and-white photographs, changing the motif in order to emphasise the illustrative aspect. He adds different colours, and places ornamentation onto the silver and gold shimmering ground of his paintings. The real house becomes an archetype that has no concrete location. The human being as narrative figure is permanently absent from his interiors. Thus, these views of houses with interior spaces, gardens and endless details become a projection plane for the viewer’s own fantasies and ideas about life.

The illustrated book was published on the occasion of the exhibitions “Stefan Kürten. Shadowtime”, 2007, Museum Haus Esters, Krefelder Kunstmuseen.

Google

Some facts about Google via Jeff Jarvis’ BuzzMachine

Google is the “fastest growing company in the history of the world.” – Times of London, 1/29/06
• Google controls 65.1% of all searches in the U.S. at the end of 2007 and 86% of all searches in the UK, according to measurement company Hitwise.
• Google was searched 4.4 billion times in the U.S. alone in October, 2007 (three times Yahoo), says Nielsen. Average searches per searcher: 40.7.
• Google’s sites had 112 million U.S. visitors in November, 2007, says Nielsen.
• Google’s traffic was up 22.4% in 2007 over 2006, according to Comscore.
• Google earned $15 billion revenue and $6.4 billion profit in 2007, a profit margin of 26.9%. Its revenue was up 57% in the last quarter of 2007 over 2006, says Yahoo Finance. As of late 2007, its stock was up 53% in a year. The company has a market capitalization of $207.6 billion.
• Google controls 79% of the pay-per-click ad market, according to RimmKaufman. It controls 40% of all online advertising, according to web site HipMojo.
• Google employed almost 16,000 people at the end of 2007, a 50% increase over the year before.
• Google became the No. 1 brand in the world in 2007, according to Millward Brown Brandz Top 100.

Karel Funk

Karel Funk (M Funk .F86 A4 2007)

Karel Funk produces portraits of men shown in head-and-shoulders view, painted in acrylic on wood panels. Dressed in protective outdoor clothing, the subjects are often seen in three-quarter profile or from behind, with their heads bowed or covered with a hood, so that we are rarely allowed to meet the models’ gaze. Each of them is set against a neutral, all-white background, setting off the figure in a vague space that lacks any real depth. His paintings suggest multiple references to art history, in particular to certain Renaissance portraits, but remain firmly rooted in the present.

A 64-page catalogue accompanies the exhibition at the The Musée d’art contemporain de Montréal. It contains essays by the show’s curator Pierre Landry and by Carter Foster, curator at the Whitney Museum of American Art, a biobibliography and 21 illustrations.

Three from Skira

 

Alessandro Busci (M Busci .B9425 A4 2007) This is the first monograph on Alessandro Busci, an artist whose full expressive and formal potential has been acknowledged on the Italian art scene; he is unanimously recognised today as one of the most prominent artists of contemporary Italian art.

Alberto Sughi ( M Sughi .S94 A4 2007) The catalogue published for this exhibition brings together more than sixty paintings and covers almost half a century of the artist’s work. 

Zotti. L’epica, il racconto, l’elegia 1956-2006 (M Zotti .Z647 A4 2007) Carmelo Zotti : The Epic, the Tale, the Elegy, 1956-2006 — Fifty Years of Painting.  Organized by Societa per le Belle Arti ed Esposizione Permanente, Milan.