1830 - 1832 - XIX

S-2583/13

Unità di misura: cm; Altezza: 26; Larghezza: 37.6

carta giapponese- xilografia

Hokusai. Sulle orme del Maestro - Roma, Museo dell'Ara Pacis, Spazio esp. Ara Pacis - 12 ottobre 2017 – 14 gennaio 2018<br>Dipinti e stampe del Mondo Fluttuante. Capolavori Ukiyoe del Museo Chiossone di Genova - Genova, Palazzo Ducale - 16 aprile – 21 agosto 2005

Universally known as "The Great Wave", this print is the most popular of the "Thirty-six Views of Mount Fuji" series. It represents a highly innovative case in the history of ukiyo-e landscape painting, "the art of the floating world", an artistic production aimed at the bourgeois public of the Edo Period (1600–1867). Becoming famous in the West at the end of the 19th century thanks to the spread of Japonism, this powerful view was much loved by the Impressionists and still continues to influence design, marketing and advertising today. The composition consists of three main elements: the stormy sea, the boats and Mount Fuji. The boats are called oshiokuri-bune, barges 12/15 meters long used for transporting fish still alive. Each boat is operated by eight rowers and carries two passengers. This ukiyoe woodblock print can be considered the iconic image of the modern contrast between man and nature. The great wave that puts sailors in difficulty is an image of nature that dominates man, and contrasts with the other great natural element of the work: the volcanic mountain of Fuji, the national symbol of Japan. The artist became famous for his landscapes created using a palette of indigo and imported Prussian blue.

17

Unità di misura: cm; Altezza: 73.3; Larghezza: 64

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Gaetano Gallino, Genoese, exiled as a supporter of Mazzini, met Garibaldi in 1841 in Uruguay and fought under his command in the Italian Legion in Montevideo and, in 1848, on hearing of the revolutionary uprisings, returned with him to Italy. Here, the Hero of Two Worlds is portrayed wearing the legendary red shirt, which he adopted for the first time in 1843 as the uniform of his volunteers of the Italian Legion. Portrait of Giuseppe Garibaldi in a red shirt.

39

Unità di misura: cm; Altezza: 96; Larghezza: 179

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The painting is a faithful reconstruction of the departure of Garibaldi and his volunteers from the cliff of Quarto. The artist’s meticulous attention to detail led him to visit the site as well as to make a careful review of the available documents, images and eye witness reports, this also allowed him to accurately depict the physiognomy of the main protagonists, those close to Garibaldi. Garibaldi himself stands out in the uncertain dawn thanks to the glare created by one of the nearby figures lighting a pipe. The painting is a faithful reconstruction of Garibaldi and his volunteers' departure from the rock of Quarto on 5 May 1860.

Dip/205

Unità di misura: cm; Altezza: 39; Larghezza: 44

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The painting documents the atmosphere of anxious anticipation and patriotic exaltation surrounding the inauguration of the Monument to the Thousand. The artist depicted the moment when the large red drape covering Baroni's work was removed and the Hero appeared to rise. The painter Antonio Discovolo relates the circumstances of the creation of this small painting, describing a Nomellini who, at the very moment Gabriele d'Annunzio was giving his speech, squeezed some colour from a small box onto the palette, dipped his fingers in it and began to trace red, blue and yellow stains on a tablet, each time wiping his finger on the lining of the jacket of the painter Eugenio Olivari, who repeatedly tried to get him to use a handkerchief.
Further evidence of the day is provided by the extensive photographic material produced for the occasion. The painting depicts the inauguration of the monument to the Thousand in the Genoese district of Quarto.

40

Unità di misura: cm; Altezza: 42; Larghezza: 34

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Poet, writer and soldier, the author of the lyrics of the Italian National Anthem he was the “soul” of the demonstrations in Genoa which, from 1846, aimed at achieving constitutional reforms; he ran to the aid of the Milanese insurgents against the Austrians in March 1848, took part in the 1st War of Independence and died at the age of 21 in 1849, during the defense of the Roman Republic which was besieged by the French. Three-quarter close-up portrait of Goffredo Mameli.

Cat. 286

Tipo di misura: volume; Unità di misura: cm; Valore: 93x29x10

Suonare

Six-string instrument with wooden body and neck. Giuseppe Mazzini was a passionate music lover and musician himself. Fully in tune with his time, he considered music education an indispensable element in the education and training of individuals and peoples. His musical interests, in particular his interest in the guitar, are evidenced both in his extensive correspondence with his mother and friends, especially between 1835 and 1856, and in his work 'Philosophy of Music', published in Paris in 1836. A connoisseur of the repertoire of the 18th and 19th centuries, he also paid particular attention to folk songs, considered the most genuine expression of the human soul. During his exile in Grenchen, Switzerland, he was able to appreciate the local folklore; as evidence of this, the Museo del Risorgimento has a copy of the musical manuscript that bears the autograph note: "Song of the Bernese Herdswomen, my memory of 1836 trusted now to my friend Giannetta Nathan".

A.I.M.G. 4-803

inchiostro-carta

Written in the autumn of 1847 and set to music in Turin by Michele Novaro, it was sung in public for the first time on 10 December 1847 in Genoa, during the solemn procession commemorating the Balilla revolt of 1746. It immediately spread throughout Italy, embodying the sentiment of national unity. It is the first handwritten draft of the Italian national anthem, contained in one of the poet's personal notebooks.

Dipinti, 42

Unità di misura: cm; Altezza: 52.5; Larghezza: 43

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Giuseppe Mazzini e la musica - Roma, Museo Napoleonico - 31/03/2011 - 06/06/2011

The artist, devoted friend and favourite painter of the Genoese patriot, performed this portrait from life during Mazzini’s period of exile in London. The goal was to print engravings to be sold to raise funds for the Italian cause.
It is the only portrait, before the widespread introduction of photography, which Mazzini considered as being a good likeness and, as such, he sent it to his mother in Genoa. Portrait of Giuseppe Mazzini in a black suit with a twilight landscape behind him.