![]() ![]() He realized only then that the art world would be his terrain for shaping enigmatic structures that stimulate curiosity, sensoriality and deceive, as seen in the Portuguese affair, our perception, through the use of disparate and skillfully composed materials to lead artist and visitors, together, to the discovery of the unknown. Then, at the age of nineteen, moving to London, where he still resides, he attended Hornsey College of Art in London (1973-77) and then Chelsea School of Art (1977-78). Coming from a multiethnic family, Kapoor came into contact with music and art at a very young age, without feeling any particular vocation. ![]() Artistic Research 1970-2005, Feltrinelli Editore, Milan, p. Kapoor is among the leading exponents of British sculpture and is part of what Renato Barilli, also including Tony Cragg, Roger Deacon, Bill Woodrow, and Julian Opie, has called the “extraordinary quintet” of so-called New British Sculpture (R. 21, 2018), is perhaps the definitive and extreme fulfillment of the poetics of the Indian artist, a star of international contemporary art. In contrast to the upward movement of the souls in limbo, rescued by Christ in Andrea Mantegna’s work (Descent into Limbo, 1492), from which Kapoor is inspired, the installation’s accidental descent into the void, described as “tragicomic” by Roberta Scorranese in Corriere della Sera (Aug. In the case in point, the unwary visitor, bewitched and attracted by Descent into Limbo (1992), a work presented at Documenta IX in 1992 and then re-presented at the Portuguese museum years later, plummeted inside the work, an eight-foot hole in the floor, painted with a special black pigment, Vantablack, of which Kapoor has been granted exclusive use in recent years. The cause of the mishap, which cost the unfortunate man a brief hospitalization, was all due to the perceptual deception triggered by the works of Anish Kapoor (Mumbay, 1954). It now dates back to the summer of three years ago the news, also reported in the pages of Windows on Art, of the accident of an Italian tourist visiting the Serralves Museum in Porto, Portugal. “It’s very rare that works by these artists become recognised and available, so for people to be able to see this work together again is just amazing.Anish Kapoor, a master of contemporary English sculpture, is an artist who creates works capable of stimulating curiosity, sensoriality and tricking our perception to lead us to the discovery of the unknown. Together with his brother-in-law Bellini, they are two of the greatest artists working in northern Italy in their time,” Campbell says. Comparisons were made with several works before the link was established with the privately owned autograph Mantegna. That was until the recent discovery of the small cross beneath the stone arch, which pointed to it having been part of a bigger panel–most likely depicting Christ’s descent into limbo. However, at the beginning of the 20th century, following doubts cast on it by the renowned art historian Giovanni Morelli, it was variously attributed to Mantegna’s studio, as a contemporary copy and as having been painted by the artist’s son, Francesco Mantegna. “We are thrilled they are choosing to show it for the first time at the National Gallery,” Campbell says.Īndrea Mantegna, The Descent of Christ into Limbo (around 1492) © Courtesy of the owner / Photo: Sotheby’s New York Since the positive attribution in May, the Bergamo panel, which has been dulled by varnish applied in the 19th century, has undergone restoration. So he started investigating and that’s when this discovery was made.” “Giovanni Valagussa found it in his store, he was writing a catalogue of Italian 15th-century paintings and he thought this picture looked far too good to be a copy. “That’s the half that’s been unknown–until now,” Campbell says. The upper section, the Resurrection of Christ (around 1492), held in the collection of the Accademia Carrara in Bergamo since the 19th century, was only recently re-attributed to Mantegna after a small cross was discovered at the bottom of the frame, which led the curator Giovanni Valagussa to postulate that it must have been part of a bigger panel. “It’s been at least 300 years since they were seen together.” “It could have been 500 years ago, or they may have been split in the 1600s, when the Gonzaga family lost control of Mantua,” says Caroline Campbell, the curator of the exhibition. ![]() It is not known exactly when the tempera paintings, depicting two distinct moments in the story of Christ’s resurrection, were separated. The pair will be unveiled together to the public on 6 December in the exhibition Mantegna and Bellini (until 27 January 2019). Two panels of a single painting by the Renaissance master Andrea Mantegna are to be reunited for the first time in as much as 500 years at the National Gallery in London this week. ![]()
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