From Giotto to Malevich (Studies in World Art Book 30)

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From Giotto to Malevich (Studies in World Art Book 30) Details

If two things in the world of art seem certain, they are that Italian museums have a surplus of masterpieces, and that the Russians, desperate for cash, are willing to lend. Put these two factors together and you have the exhibition now at the Scuderie del Quirinale, currently the most prestigious exhibition space in Rome. Its purpose is to trace the parallels, and also, as it turns out, the divergences, between Russian and Italian art and architecture, from the time of the late Middle Ages onwards.There are three periods when Russian and Italian culture seemed to be in step with one another. The first of these was during the medieval period, when artists in both regions were the heirs of Byzantium. A number of works included in this section of the exhibition emphasise how close the parallels actually are - a painting of the Madonna and Child by an artist close to the mid-13th century Florentine Coppo di Marcovaldo is wholly Byzantine in style.

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