Monet could let his paintings shine just with the colours he used. The natural light, that the French master loved so much and always tried to reproduce in his paintings, is completely defeated in the roman exhibition. Every vibration is shaded, the surprising quality of every single brush – stroke is hidden as the capacity of the French artist to reproduce the light and the weather conditions on the canvas.
I’d like to precise that I’m not against new expositive criteria, as – for example – new lighting techniques, but I think that the aim of the researches in this field should respect the artistic work.
In this case I think that the desire of a spectacular staging overcame the critic ability which is always necessary in preparing an exhibition like this..jpg)
The debate on the expositive criteria is still open. There isn’t a criteria always valid apart from the critic ability. That’s the reason why the choice of the lighting should have been al least explained in the catalogue.
The lack of interest for the lighting shows how little the problem of preparing an exhibition is considered.
Valentina Tanni
Dal 4 marzo al 25 giugno 2000. Roma Vittoriano Museo del Risorgimento. Dalla 9.30 alla 19.30. Sabato e domenica fino alle 20.30.£15.000/12.000/10.000.Info.066780664
[exibart]
