L'Italo-Americano

L'Italo-Americano THURSDAY, DECEMEBER 12, 2013 www.italoamericano.com 35 The art of the Italian Presepe: different cities, different styles LuCA DELL'AQuILA The art of reproducing the nativity scene is linked to an ancient tradition in Italy. Three cities are particularly famous for their presepi: Bologna, Genoa, and Naples. The Bolognese tradition dates back to the 13th century, and it is different from other nativity scenes realized in Italy because all characters are entirely hand carved, including their clothes. Various materials can be employed, from terracotta to paper, from wood to plaster, depending on the craftsman's ability. The Basilica of Santo Stefano in Bologna boasts the oldest nativity scene in the world, with full-size statues from the 13th century, and it is one of the biggest in the Country. The Basilica, also known as "The Seven Churches", for centuries has received pilgrims on their way to Rome, Jerusalem, or Santiago de Compostela. This has inspired the production of sacred art and attracted many artists in the city, including sculptors and potters who realized innovative statues and figures for the nativity scenes decorating the churches. Another peculiar feature of the Bolognese presepe is the presence of two typical characters: the Marvel and the Sleepyhead . The Marvel is usually a female figure representing those who are moved by the news of the birth of Jesus Christ, while the Sleepyhead is a sleeping character who is often placed aside and not fully aware of what is happening around him. The Genoese school of the nativity scene is well-established and prestigious as well, thanks to the accurate craftsmanship and precius materials, from wood to ceramic or paper, used to finish off the figures' details such as clothes and faces. The golden era for the Genoese tradition was the 18th century, when reproductions of the cave in Bethlehem and the nativity characters weren't hosted only in churches but also in the houses of nobles and bourgeois, causing the proliferation of shops specialized in the notching of Genoese wood. Today, many nativity scenes in Genoa can be admired all year long. Among them is one in particular, embellished with statues from the school of Anton Maria Maragliano (1664-1739), whose shop was one of the most famous in town. The setting is mainly urban and located in the Santuario della Madonnetta. The scene is reproduced in an area of about one hundred square meters, and divided into five different parts. Three of them are set in an ideal 17th century Genoa, with all the typical caruggi, the dark and narrow alleys that still mark out the historic center. The other two parts on the sides are set respectively in the countryside and in Jerusalem, the cradle of Christianity. The meaning is to reunite in one city Genoa, the East, and the West through the Christian message. The Neapolitan nativity scene, traditionally set in the18th century Naples, is characterized by terracotta shepherds. The use of terracotta had almost disappeared as a result of the introduction of plastics that guaranteed large scale production and lower prices. In 1969, the terracotta tradition and technique was restored by Nicola De Francesco. In Naples, the turning point for this sacred art was the 17th century, when the scenario was expanded from the mere nativity cave to the profane world outside with the representation, for example, of taverns. The scene became pompous and detailed, while the characters became smaller. Then in the 18th century, Neapolitan nativity scenes experienced their golden era, once again moving from shepherds, street vendors, the magi, and animals. The Neapolitan sacred art is still alive and kicking, and its tradition is extremely popular in the city and in the whole Country during the Christmas holiday season. The renowned Via San Gregorio Armeno in Naples, as in other Christian countries. The setting is not necessarily Bethlem, but often a presepe vivente gives the opportunity to show typical professions of the ancient times that don't exist anymore. Even if nowadays this sacred art is less strong than it was in The famous Cuciniello's Presepe in the Museum San Martino in Naples the churches where they were the object of religious devotion, to the homes of the aristocracy. Giuseppe Sammartino, perhaps the greatest Neapolitan sculptor of that time and well-known for his Cristo Velato, was very skillful in shaping terracotta figures, and he established a veritable school of artists. Most of the figures of the famous Presepe del Banco di Napoli have been made by him. Remarkable is the fact that in Neapolitan nativity scenes greater attention is placed outside the holy family group. Artists have always preferred to focus on secular elements as also called Via dei Presepi, is a real tourist attraction which showcases the local presepe crafts. The most acclaimed example of a Neapolitan nativity scene is represented by Cuciniello's, made between 1887 and 1889, and located at the Museum of San Martino. Living nativity scenes are also very common in the Christian tradition. They consist in a brief live theatrical performance reproducing the birth of Jesus.
 T he first living nativity scene was made by St. Francis of Assisi in Greccio, near Rieti, in 1223. Since then, the tradition spread to the rest of Italy as well the 18th century, Italians still love to make and decorate their own presepe at home. This tradition is preserved by immigrants who live far from their native countries, like Domenico Masdea from Tustin, California. Every December 1 since 2001, Domenico opens his garage to neighbors and curious guests to show them his own nativity scene. It takes him two months of work every year to complete and refine it. Some of the figures come directly from Italy. It is a hard job, but people always remain agape in front of the hundreds of pieces that compose his giant presepe. twelve feats as punishment for having killed his wife and children in a fit of temporary insanity. Giulio Romano's Hercules Resting after Killing the Hydra (about 1535) shows the hero with an unusually lanky body, exhausted after he has killed the Hydra of Lerna, a multi-headed water serpent that was wreaking havoc. Victorious yet weary, Hercules rests on a large rock, with bits of the slain monster lying around him on the ground. "This exhibition showcases a beautiful and highly interesting part of the Getty drawings collection in a meaningful way that invites the viewer to explore the fascinating world of GrecoRoman mythology and its artistic representations," says Edouard Kopp, associate curator of drawings at the J. Paul Getty Museum and curator. The exhibition is accompanied by related events including the lectures Beauties Sleeping and Beauties Awake: Fairy Tale, Myth, and Visual Culture to be given by Maria Tatar, John L. Loeb Professor of Folklore and Mythology and Germanic Language and Literatures at Harvard University, on December 4; and Love, Death, and Metamorphosis: Picturing Classical Myths by Edouard Kopp, assistant curator of drawings at the Getty Museum, on January 12, 2014. In addition, the gallery course Drawing from the Masters: Myths and Figures taught by artist Peter Zokosky will take place December 1 and 15, and a talk with Edouard Kopp is scheduled on January 21, 2014 at the Museum galleries. Gods and Heroes at the Getty Museum The stories involving mythical gods and heroes of the GrecoRoman antiquity have inspired artists for centuries, testing their abilities to represent complex narratives in visual form. The likes of Venus and Apollo, Hercules and Achilles, have proved to be particularly rich artistic subjects not only because they had extraordinary qualities ― such as beauty, creativity, strength and courage ― but also for the imperfections that made these characters even more compelling. Involved in love and lust, rivalry and treachery, crime and punishment, they possessed all the passions and flaws of mere mortals, but on a much larger scale. Featuring a selection of close to 40 drawings dating from the Renaissance to the 19th century, Gods and Heroes: European Drawings of Classical Mythology on view November 19, 2013 through February 9, 2014 at the J. Paul Getty Museum - explores the pictorial representation of myths that have been instrumental in the formation of Western culture. "The Getty's collection of drawings provides an almost endless supply of images representing figures from classical mythology," explains Timothy Potts, director of the J. Paul Getty Museum. "Those chosen for this exhibition bring these myths to life for today's audience in works of outstanding artistic quality. The exhibition also nicely complements the Museum's collection at the Getty Villa, which is dedicated to the arts and culture of the ancient Mediterranean. Many of the gods and heroes that will be on view at the Getty Center in this exhibition find their counterparts in ancient representations there." Artists have approached mythical figures very differently, sometimes treating them as pretexts for visual experimentation, or as an opportunity to demonstrate their ability to render human anatomy. While Agostino Carracci's Triton Blowing a Conch Shell (1600) was made in preparation for an elaborate frescoed scene on the vault of Palazzo Farnese in Rome, Italy, the drawing stands alone as a powerful depiction of the triton's twisting body, which is depicted with striking illusionism. In a subtle display of skill, Rosalba Carriera's Muse (mid1720s) exemplifies the artist's mastery of the pastel technique, which is most evident in the rendering of the young woman's ivory skin, flushed cheeks, and rosy lips. Themes of love and lust are common in classical myths, as shown by Agostino Carracci's drawing of Cupid Overpowering Pan (about 1590). In accord with the Roman poet Virgil's statement that "love conquers all," Cupid, symbolic of virtuous love, is shown subduing Pan, the embodiment of carnal desire. The world of gods and heroes could also be a violent one, and drawings such as those depicting the labors of Hercules, attest to this. Hercules had to perform

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