Magnani-Rocca Foundation, Mamiano

(4.4/5 based on 280+ reviews on the web)
Magnani-Rocca Foundation is located in Mamiano. Arrange to visit Magnani-Rocca Foundation and other attractions in Mamiano using our Mamiano trip itinerary planner.
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Reviews
TripAdvisor
  • It is always worth coming back, there are always new and permanent exhibits is truly exceptional, nothing to take away the good museums, an amazing piece of culture in a relaxed setting, a park worth visiting
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  • Since March 18, when it will reopen with the exhibition by Depero Council to those who appreciate the art visit the Magnani Rocca Foundation, Mamiano di Traversetolo, not far from Parma. Contemporary works and collector value in classic baroque villa Magnani who kept nearly all the original furniture and is already by itself enough to justify a stop surrounded by a centuries old park as it is populated by peacocks.
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  • In addition to the artists also serve the patrons. Luigi Magnani was one of these and thanks to him in Mamiano Traversetolo the villa where he had lived it preserves the masterpieces he collected, donated to a special Foundation. The collection created by him is of such importance and wealth that allows-with a single loan from America-a (mini) view on Monet and Impressionism. Preceded by a Hall where you will find masterpieces by Cezanne and Renoir in a small square room on the walls facing Falaises at Pourville, soleil levant of 1897 and Falaise du Petit Ailly in Rotterdam (formerly from the collection recently and it is said Tanzi seized before it was sold abroad). Both have as their subject the beloved Normandy cliffs and are an expression of the theme of mass production: the same landscape portrait several times in different weather conditions or light. I don't know if it was an accident but you could make a link with the Pop art that is on display in the villa: a few pop artists had focused their attention on the topic of serialism and the repetitiveness of the artwork as opposed to uniqueness until then prevalent. Other series beloved by Monet is the one developed in the last period (for thirty years!) namely water lilies: here is a picture from the Denver Art Museum, The Bassin des Nympheas of 1904. A small observation: in all art held diachronic or rather almost nothing is totally new because with few exceptions every artist goes back to a previous one. For exfoliation of reality and its dissolving in light the last Monet is debtor of the opera of Turner ... which in turn recognizes as his inspiration Lorrain (to transfigure the physicality of the landscapes in clear visions and lyrics). At the same time in a work like the water lilies we witness the passing landscape painting toward a deconstruction of form and matter that dissolve into something radically new in his brushstrokes predivisioniste seems to anticipate abstract art suggestions. So much so that the editor speaks of "prophecy of the informal" sensing even a tie with American Action painting. As a final comment I'd say it's few works which alone do not justify the journey: but combined with the other jewelry there ...
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