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Eventi a Roma

Canaletto 1697-1768

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"Canaletto 1697-1768": the works on display at the Palazzo Braschi Museum in Rome From 11/04/2018 till 19/08/2018" "Canaletto 1697-1768": the works on show in Rome Canaletto is one of the best known European eighteenth-century artists. With his pictorial genius has revolutionized the kind of view - considered until then secondary - putting it on a par with painting of history and figure, indeed, raising it to an emblem of the scientific and artistic ideals of the Enlightenment.

International of Tennis 2018

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Rome Foro Italico from 07 May till 20 May 2018. Given the extraordinary success of the recent issues with the Foro Italico always sold out, you will not miss the show the ability to book and buy soon subscriptions and tickets, whose prices will not suffer any increase over the last edition. This year the tournament will occupy a 12-day period: the Parco del Foro Italico in fact open to the public Wednesday, May 10 with the pre-qualification tournaments and will give the opportunity for fans to follow the training sessions of the top players that anticipate their arrival the Masters 1000 Rome. The men's main draw will begin Sunday, May 14, and combined in the usual formula will continue until Sunday, May 21 fielding the spectacle of world tennis players, just like in the Grand Slam tournaments. Particularly attractive is the show of the first day of the tournament, when the true connoisseurs will admire the young champions who dominate the scene in the near future. The second numbered field will be the Next Gen Arena: 5,000 seats, excellent visibility, the scene of meetings at the highest level until Friday 19 May. Every day, here, a "long session" that presumably will end in the evening. As always there are three types of tickets. CENTRAL and Next Gen ARENA have specific coupons, then different: with the title of the first stage access can not enter into the second and vice versa. Both (limited to those of the daytime session) instead allow to follow, like the GROUND ticket, the match in progress since morning in all a further twelve fields, so-called secondary, the Foro Italico, the first of the stadium Nicola Pietrangeli.

86° Piazza di Siena

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Rome Piazza di Siena from 24 May till 28 May 2018 Piazza di Siena takes its name from the city of origin of one of the most ancient and noble families of Rome: the Borghese. At the end of 16th century, Prince Marcantonio Borghese commissioned to architects Mario and Antonio Asprucci a new space, able to recall the places he beloved. His desire, in fact, was to bring, in the city of Rome, the traditional popular celebrations atmosphere they enjoyed, since the Middle Ages, in Tuscany. Unfortunately Prince Marcantonio died before he could see it. Piazza di Siena’s debut in equestrian competitions was in 1922, but only in 1926 the International Equestrian Federation included the Roman competition in the international agenda and the official numeration of the CSIO of Rome began. After three editions in a different location, in 1929 the horse show returned in Piazza di Siena. Some of the most relevant episodes of Italian riding took place in this public park, which is considered the biggest and more elegant of Rome: unforgettable challenges between extraordinary protagonists such as Bettoni, D’Inzeo or Graziano Mancinelli and other flagmen of this noble sport. The appointment with the horse show was suspended only from 1941 to 1946, during the second world war. In 1960, while Piazza di Siena hosted the competitions of the Olympic Games of Rome, the C.S.I.O. moved to Turin. In 1998, instead, the International Official Horse Show left place to the World Equestrian Games performed in the Flaminio Stadium. But in 2000, Piazza di Siena had its reprisal hosting two CSIO, in May and in October, when it witnessed the final of the Super Samsung League. In 2003 the International Show Jumping of Piazza Siena joined the eight best international show jumping of the Top League and from 2013 of the Division 1 of the FEI Nations Cup Series.

Botero's exhibition

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The exhibition Giovanni Boldini, from 4 March to 16 July at the Complesso del Vittoriano - Ala Brasini, in Rome, is one of the most comprehensive and spectacular retrospectives to be held in recent years. It features the most representative oils and pastels in Boldini's oeuvre and works by other artists who were his contemporaries, as well as a small selection of drawings on paper and engravings. The show reconstructs step by step the outstanding career of this great Italo-French artist, who was not only one of the protagonists of that exceptional period and the brilliant anticipator of 20th-century modernity, but superbly conveyed and exalted female beauty in his works, revealing the innermost mysterious soul of the noble ladies of the period, whom he regarded as "fragile icons". The exhibition comprises about of approximately 160 works – some of which have been rarely seen in public before such as The Red Curtain (1904), Lady Reading (1875), Portrait of a Lady in White with Gloves and Fan (1889), Dark-Haired Lady in an Evening Gown (c. 1892), Portrait of Madame G. Blumenthal (1896) – from major private collections and museums throughout the world, including the Musée d'Orsay in Paris, the Staatliche Museen zu Berlin - Nationalgalerie in Berlin, the Musée des Beaux-Arts in Marseille, the Uffizi in Florence and last but not least the Museo Giovanni Boldini in Ferrara, which has the most important public collection of the master's works. The large canvas depicting Portrait of Donna Franca Florio (1901–1924) the masterpiece that has become the symbol of the Belle Époque and the happy Palermo of the day is also on display.

From Caravaggio to Bernini

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Rome Scuderie del Quirinale museum from 14 April 2017 till 30 July 2017. Through a remarkable selection of paintings and sculptures, the exhibition 'From Caravaggio to Bernini. Masterpieces of the Italian Seicento from the Spanish Royal Collection' reflects the close political links and cultural strategies established by the Spanish court and the Italian states over the course of the 17th century. The art collections of the Hapsburg dynasty were enriched by the frequent diplomatic gifts from Italian rulers striving to earn the favour of the Spanish overlords, who with their domains – the Viceroyalty of Naples and the State of Milan – conditioned the development of the complex political situation in Italy from the mid-16th century onwards. This is the case with two of the most spectacular paintings on display, Guercino's Lot and His Daughters and Guido Reni's Conversion of Saul, which Prince Ludovisi donated to Philip IV with the aim of ensuring Spanish protection over the tiny State of Piombino. A large number of other artworks – including the magnificent Crucifix by Bernini from the Monastery of San Lorenzo de El Escorial, a work rarely accessible to the public – were commissioned or acquired by envoys of the king. Other works were commissioned or purchased – as in the case of Caravaggio's Salome – by representatives of the Spanish crown in Italy (ambassadors and viceroys), who were either despatched to the papal court or Naples, or bequeathed the works to the royal collection.
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