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Text by Vittorio Sgarbi.
We all know how much the "official" art has shown hostility towards the nine hundred representation, particularly the traditionalist one, believing that it was an exspressive method connected to the past, by now outmoded for every by a modern times. An evaluation that exactly the time has proved to be completely wrong especial ly because one goes on recognizing in the visual art the most emblematic finali zation of one " aestethics ideals. To erase the traditionalist representation from the history of the art in the second part of the nine hundred in an arbitrary ope ration which could find its justification for a critic, totally free about his opinion, but not for a historian.Unless one wishes intentionally to consider only the - educated History of the art, just as it is expressed in the limited circle of certain critics and their favourite artists. I am convinced that no historical phenomenon has been so much penalized as the representation " new-realistic" (not neo-realistic), developing especially in Florence right after the Second World War.
At the time young artists like Annigoni Sciltian, the Buenos, Guarienti gathered around De Chirico example and had themselves organized as a group, stating proudly the right of the traditionalist representation, the one learnt mainly in the academy, the one they felt authentically "Italian", having still something to say to modern man. The group broke up soon both for the personal success Annigoni was getting and for expressionist tendency developed among some of its exponents (the Buenos for instance), but during its existence it has succeeded just the same in gaining through the artistic circle and the general public an extraordinary credit. Even if we wanted to express an opinion about " the new modern Renaissance" suggested by Annigoni through a reactionary method compared to the parallel developments or the artistic research, it is a fact the historian has to face. The "new-realism" ought to be considered as a retour à l'ordre which has entered into the international art after the First One War, bringing back to the general comunication many of the avant-guard artists who in their search had lingered on the intellectual movement; unlike its more legitimate historical predeccessor, the "new-realism" has been cancelled by the critics as something annoying and embarassing, something opposing to the "magnificent destinies and progressive" of the Avant-guard, something which considered art a fact not so much connected to the mentality of few chosen people, but to the common people.
Inevitable after this introductory statements, that he who has the courage to call himself Pietro Annigoni's pupil, the most repre sentative and popularly know of the "new-realist" must endure the same critical "curse" inflicted on his Master. Alberto Remo Carlo Lanteri, direct heir of the " new-realists" does not seen justly worried about similar problems, he is totally concentrated on his own craft which has a confrontation with the Renaissance lesson, and reaches a visual virtuosity really unusual in the field of contemporary Italian painting. There is a part of Lanteri soul which seems to gratify itself about this alienation from the most tipical artistic expression of the modern world. A man, Lanteri, who identifies himself with a man of the past, who happened, by chance, to be living in our time, sometime seven able of provocative exhibitionisms (it is the case of the painting in the appearance of the GIOCONDA, for instance) emulating similar performances by Giorgio De Chirico, the pictor opyimus par excellence, fully declaring his own pride in being gitfed by what was called "the good ancient craft". Undoubtly from this point of view, Lanteri style refers evidently to a Renaissance we could define " pre-Bellini", close to Polla iolo as much as to Botticelli or to Cima da Conegliano, in which the design acquires a value inescapable in the plastic and conceptual definition of the form. Lanteri forma mentis ("Art is a long walk through which I try to penetrate into the infinite mistery of the Cosmos, so to be able to reach the purest light: God", the artist has stated) doesn't seem to be so much detached from the Beato Angelico's, that is the farthest from the modern age, although the recurring frequency of the secular subject (the nude first of all) excludes a tight association with the mysticism of the monk-artist. But Lanteri is not a fanatic man of the past, an improbable pre-Raphael who believes to be the reincarnation of a four hundred painter and as such behaves in our times; to compensate for his "ancient soul" he shows in his work style ancien règime a formal and spiritual sensitivity which can only be defined but modern, more specifically twentieth-century. I am thinking, for example, at the clearness and depth of is pictures which finds precise relation in a visual italian school including Plastic Values (Broglio and Oppo), Nine hundred (Funi, Marussing, Dudreville), the "Italian style" from Trieste (Sbisà), the so called Magic Realism, expanding also to the international representation (to the Neue Sachklicheit as to Schad's among others).I' m thinking about Lanteri definite symbolist vocation, far from the lucid Renaissance allegory, but strongly rooted in the late-romantic mentality, visionary and instable not turning towards certainty methods but longings for truths in the sudden appearances of the Creation. Not to mention, talking about more outward aspects, of a certain cloths styling, in the "decoration" or in the settings, created by Lanteri, almost with some vague futiristic ascendancy a la Thayat. There is enough, in short, to consider Lanteri a modern painter against any easy critical superficiality. It is a


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