Address
Viale delle Belle Arti, 131
00197 Rome (RM)
Phone
(+39) 06.322981
(+39) 06.32298221
E-mail
gan-amc [nospambot] beniculturali.it
Web
http://lagallerianazionale.com/educazione/

Features and services

OK for children/kids of 10 - 15 years of age
Average price: 0 € - 10 €
Handy friendly

Numero massimo di caratteri superato
5000/5000
Superato di 2154 caratteri il massimo di 5000 consentito:
sviluppi della raccolta, già nel 1956 si era iniziato a progettare un ulteriore ampliamento sul retro del corpo di fabbrica del 1933; nel 1960 Palma Bucarelli e Giulio Carlo Argan contattano Walter Gropius, che fa un primo sopralluogo, disegni e fotografie, ma senza poter procedere per mancanza di finanziamenti. Nel 1967 l’incarico è affidato all’architetto Luigi Cosenza ma il decreto di autorizzazione è approvato solo nel 1973. Per Bucarelli l’ampliamento Cosenza è destinato all’arte contemporanea, ma non solo; architetto e Soprintendente condividono infatti un’idea di museo con finalità educative, centro propulsivo e di aggregazione di iniziative culturali. Secondo questa visione nella nuova costruzione sono previsti spazi per l’auditorium e per i giardini. Nel 1984, alla morte di Cosenza, l’edificio non è terminato. Quattro anni più tardi, durante la soprintendenza di Augusta Monferini, sarà aperta al pubblico la sola parte compiuta, con una mostra celebrativa della sua attività. Nel frattempo, dal 1983, il museo chiude temporaneamente per importanti interventi di adeguamento e messa a norma degli impianti. I lavori riguardano principalmente l’ala destra del palazzo, nella quale l’allora curatore Bruno Mantura espone protagonisti e movimenti del Novecento, dando ampio spazio alla scultura. L’allestimento è opera di Costantino Dardi: il grande salone centrale è scandito da pannelli modulari che creano altrettanti ambienti espositivi. Alla sommità di ciascun pannello sono poste strutture leggere con vele triangolari che schermano le fonti di luce artificiale, creando un collegamento visivo fra i pannelli e la verticalità del salone. Nel 1999 si inaugura il nuovo ordinamento, voluto dalla Soprintendente Sandra Pinto, nel quale è la storia architettonica del palazzo a determinare la sequenza delle collezioni: l’edificio Bazzani del 1911 ospita l’Ottocento, con il ripristino di boiserie e colori alle pareti; l’ampliamento del 1933 il Novecento. L’ala Cosenza è destinata all’arte contemporanea dal 1968 al 2000, tenendo conto della nascita proprio in quegli anni del MAXXI, creato per documentare l’arte del XXI secolo.
The National Gallery of Modern and Contemporary Art was born in Rome in 1883 to represent the national art of the new unitary state. Initially, it does not have a collection, to which it is beginning to buy through national exhibitions or a venue. There is a temporary placement at the Palazzo delle Esposizioni of Rome, inaugurated shortly before. The Council of Fine Arts examines historic buildings, former convents and other state-owned buildings, but choices are discarded because of the limited space or inadequacy of the structures. The coexistence between the growing collection of the Gallery and the temporary exhibitions hosted at the Palazzo delle Esposizioni becomes in a short time conflicting. The solution is located in 1911 when the Pavilion of Fine Arts built by Cesare Bazzani in Valle Giulia, on the occasion of the International Exhibition, is acquired for the new Gallery.

At first, the choice of the site is criticized because it is out of the way and poorly connected to the city center, but the proximity to Villa Borghese, just open to the public, between the Etruscan Museum and the Borghese Gallery, the presence of foreign academies make a particularly striking solution and seem to concretize Bazzani's dream of "an ideal city of art". The building project intends to evoke a "temple of art" with a monumental staircase accessing the pronaos of the central body, flanked by two long lateral wings marked by pilasters. A clear and sober architectural design, which is made up of three high relief fences: the Ermenegildo Luppi's Beauty and Force march on the left; The Parade of Life and Work by Adolfo Laurenti on the right; The artist and artistic battles of Giovanni Prini in the center, inside the pronaos. The four crowning sculptures represent Architecture and Painting (left); Sculpture and Decoration (right). Inside the halls are functionally distributed around the Ceremony Hall. They are large environments, lit up from natural light by lucernai; from each side of the large glazed building you can see the gardens and the courtyards, creating a continuous relationship between interior and exterior. On June 30, 1913, the Pavilion of Fine Arts was handed over to the Ministry and in July 1915 the Gallery completed the move from the Palace of Exhibitions.

The rooms of the palace are nowadays insufficient for a growing collection and therefore in 1933 it entrusted to the same Bazzani the design of an extension in the back ground. The new factory body, which doubled the exhibition area, is not immediately available because in 1934, just concluded, it must host the Sacred Art Exhibition in honor of the Lateran Pact and after the closing of the Exhibition Palace, the Exhibition of the Fascist Revolution. In the precision of free spaces, Director Roberto Papini, having to give up a presentation of the collection in the twentieth-century view, points to the rotation of works through temporary exhibitions and "consultation rooms" for those not exposed to the public. To gain display surface use scaffolding; eliminates colors on walls, boiseries and door frames; realizes a poor set-up for necessity, but of almost modernist taste.

After a temporary closure due to the Second World War, it is necessary to restore much of the building and in particular to the expansion of 1933. At the reopening, Superintendent Palma Bucarelli is aware of the need to update the Gallery according to modern museum museums , after the fascist autarchy of twenty years. The new order she wished in the following years outlined vertically the 19th century (1966) and 20th century (1968) with respect to the building, following a rotating clockwise direction from left to right. In the left wing a new staircase connects the lower floor of 1911 with the upper floor of 1933; resuming the ideas of the Papini Director, the wooden boiserie and the travertine frames in the doors of the extension are definitively eliminated, even lowered in height. The walls now have clear colors; the panels everywhere multiply the environments; the large halls are covered by veils that screen the lighting now derived from fluorescent tubes with metallic suspensions. Velores and panels will be removed in the 70's by Superintendent Giorgio De Marchis. The Sala Medardo Rosso is set up by the architect Luciano Rubino, while the works of Vincenzo Gemito are placed in niches along the corridor-veranda. Kinetic art is enhanced by exposure to a deliberately dark environment. For the first time, there is the graphics room and a permanent exhibition of outdoor sculptures in the gardens in front of the building.

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