旅行
账户
Brun066
Excellent quality of the exhibition about Hokusai (2024-2025).
Palazzo Blu的点评
点评：I visited Palazzo Blu for the first time for the exhibition on the Japanese painter Katsushika Hokusai (1760-1849).
I therefore first appreciated the restoration and enhancement process of the palace that took place from 2001 onwards (a process that, after the visit, I learned about from the website existing on the palace). I then enjoyed the exhibition on Hokusai, as i understand the latest in a very large series of temporary exhibitions.
The exhibition interested me even more, as I am returning from my second trip to Japan (made in the summer of 2024), therefore I am particularly sensitive to the themes exposed.
I was enchanted by the lyricism of the landscapes depicted by the master of ukiyo-e art – as Hokusai is universally considered – which at the beginning of the exhibition include masterpieces from the collection of prints “Views of famous places [in Japan]”: temples, waterfalls but above all bridges. Then the enchantment continued with the prints from the collection “Thirty-six views of Mount Fuji”. These first two sections are in my opinion the highlights of the exhibition, and in fact the crowd in the rooms was barely bearable (it was a Saturday afternoon: whoever can, go on weekdays).
Other sections follow, concerning also authors other than Hokusai, dedicated to drawing manuals for painters (called “manga”) and those dedicated to various albums, with both erotic and more elitist subjects.
The most substantial section of the exhibition is dedicated to products of Japanese works for daily needs, such as surimono, ie cards and invitations created for the upper classes. Finally, a collection of scrolls dedicated by Hokusai (as well as by his disciples) to various themes, from nature to mythology to human types.
We then move on to the reflections of Hokusai's art in subsequent eras, up to contemporary art.
The exhibition claims to have collected examples present in Italian collections (and to a small extent foreign ones) in sets never experimented before. However, a majority of the items exhibited come from the Edoardo Chiossone Museum of Oriental Art in Genoa.
The cultural contexts of reference are masterfully exposed in the introductory panels to the individual rooms.
In essence, this is an exhibition that I enjoyed very much, and which seems in line with the high level of exhibitions organized in the Palace.
I therefore first appreciated the restoration and enhancement process of the palace that took place from 2001 onwards (a process that, after the visit, I learned about from the website existing on the palace). I then enjoyed the exhibition on Hokusai, as i understand the latest in a very large series of temporary exhibitions.
The exhibition interested me even more, as I am returning from my second trip to Japan (made in the summer of 2024), therefore I am particularly sensitive to the themes exposed.
I was enchanted by the lyricism of the landscapes depicted by the master of ukiyo-e art – as Hokusai is universally considered – which at the beginning of the exhibition include masterpieces from the collection of prints “Views of famous places [in Japan]”: temples, waterfalls but above all bridges. Then the enchantment continued with the prints from the collection “Thirty-six views of Mount Fuji”. These first two sections are in my opinion the highlights of the exhibition, and in fact the crowd in the rooms was barely bearable (it was a Saturday afternoon: whoever can, go on weekdays).
Other sections follow, concerning also authors other than Hokusai, dedicated to drawing manuals for painters (called “manga”) and those dedicated to various albums, with both erotic and more elitist subjects.
The most substantial section of the exhibition is dedicated to products of Japanese works for daily needs, such as surimono, ie cards and invitations created for the upper classes. Finally, a collection of scrolls dedicated by Hokusai (as well as by his disciples) to various themes, from nature to mythology to human types.
We then move on to the reflections of Hokusai's art in subsequent eras, up to contemporary art.
The exhibition claims to have collected examples present in Italian collections (and to a small extent foreign ones) in sets never experimented before. However, a majority of the items exhibited come from the Edoardo Chiossone Museum of Oriental Art in Genoa.
The cultural contexts of reference are masterfully exposed in the introductory panels to the individual rooms.
In essence, this is an exhibition that I enjoyed very much, and which seems in line with the high level of exhibitions organized in the Palace.
翻译：我第一次参观 Palazzo Blu 是为了观看日本画家葛饰北斋 (1760-1849) 的展览。
因此，我首先欣赏了自 2001 年以来进行的宫殿修复和扩建过程（参观后，我从宫殿网站上了解到了这一过程）。然后，我欣赏了葛饰北斋的展览，据我所知，这是一系列非常大型的临时展览中的最新展览。
我对这个展览更加感兴趣，因为我刚刚从第二次日本之行（2024 年夏天）回来，因此我对展览的主题特别敏感。
我被浮世绘大师葛饰北斋描绘的风景的抒情性所吸引——人们普遍认为他是浮世绘大师——展览开始时，包括版画系列“日本名胜风景”中的杰作：寺庙、瀑布，但最重要的是桥梁。然后，《富岳三十六景》系列的版画继续吸引着人们的注意。在我看来，前两个部分是展览的亮点，事实上，房间里的人群几乎让人无法忍受（那是星期六下午：谁有空，就去工作日）。
接下来是其他部分，涉及除北斋之外的其他作家，致力于为画家（称为“漫画”）绘制手册，以及致力于各种专辑的手册，其中既有色情主题，也有更精英主义的主题。
展览中最实质性的部分是日本作品的日常产品，例如 surimono，即为上流社会制作的卡片和邀请函。最后，北斋（以及他的弟子）致力于各种主题的卷轴集，从自然到神话再到人类类型。
然后我们继续讨论北斋艺术在随后的时代直至当代艺术中的体现。
展览声称收集了意大利收藏品（以及一小部分外国收藏品）中从未尝试过的成套藏品。然而，大部分展品来自热那亚的爱德华多·基奥索内东方艺术博物馆。
各个房间的介绍面板巧妙地展示了参考的文化背景。
从本质上讲，这是一个我非常喜欢的展览，它似乎与宫殿组织的高水平展览相符。
因此，我首先欣赏了自 2001 年以来进行的宫殿修复和扩建过程（参观后，我从宫殿网站上了解到了这一过程）。然后，我欣赏了葛饰北斋的展览，据我所知，这是一系列非常大型的临时展览中的最新展览。
我对这个展览更加感兴趣，因为我刚刚从第二次日本之行（2024 年夏天）回来，因此我对展览的主题特别敏感。
我被浮世绘大师葛饰北斋描绘的风景的抒情性所吸引——人们普遍认为他是浮世绘大师——展览开始时，包括版画系列“日本名胜风景”中的杰作：寺庙、瀑布，但最重要的是桥梁。然后，《富岳三十六景》系列的版画继续吸引着人们的注意。在我看来，前两个部分是展览的亮点，事实上，房间里的人群几乎让人无法忍受（那是星期六下午：谁有空，就去工作日）。
接下来是其他部分，涉及除北斋之外的其他作家，致力于为画家（称为“漫画”）绘制手册，以及致力于各种专辑的手册，其中既有色情主题，也有更精英主义的主题。
展览中最实质性的部分是日本作品的日常产品，例如 surimono，即为上流社会制作的卡片和邀请函。最后，北斋（以及他的弟子）致力于各种主题的卷轴集，从自然到神话再到人类类型。
然后我们继续讨论北斋艺术在随后的时代直至当代艺术中的体现。
展览声称收集了意大利收藏品（以及一小部分外国收藏品）中从未尝试过的成套藏品。然而，大部分展品来自热那亚的爱德华多·基奥索内东方艺术博物馆。
各个房间的介绍面板巧妙地展示了参考的文化背景。
从本质上讲，这是一个我非常喜欢的展览，它似乎与宫殿组织的高水平展览相符。
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