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From Manet and Cézanne, a double line begins in painting: on the one hand there is a progressive flattening of the picture plane (Kandinsky, Malevich and Mondrian) and on the other, easel painting is abandoned (Duchamp, pop art and minimalism). In the middle, the gigantic figure of Picasso rises. From the eighties onwards, a certain naturalism and uncritical realism are resumed (Jeff Koons and Damien Hirst), and, in parallel, a material painting appears that exudes spirituality and transcendence, capable of reviving an auratic art and questioning the meaning of our existence (Antoni Tàpies and Anselm Kiefer). With Giuseppe Di Giacomo, professor of Aesthetics at La Sapienza. Presented by: Barbara Marchi, doctor in History of Art.