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Act II, first scene and third act, stage equipment: The Chariot of Armida for Armida by G. Rossini. 1952 (pencile and tempera on a canvas board)
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Act II, first scene and third act, stage equipment: The Chariot of Armida for Armida by G. Rossini. 1952 (pencile and tempera on a canvas board)
6283536 Act II, first scene and third act, stage equipment: The Chariot of Armida for Armida by G. Rossini. 1952 (pencile and tempera on a canvas board) by Savinio, Alberto (Chirico, Andrea de) (1891-1952); Museo Novecento, Florence, Italy; (add.info.: "Atto II, quadro primo e atto terzo, attrezzeria scenica: Carro di Armida per "Armida" di G. Rossini. Bozzetto di Alberto Savinio, 1952.Matita e temperamsu cartone telato.); Ghigo Roli
Media ID 31716176
© Ghigo Roli / Bridgeman Images
Alberto Savinio Andrea De Chirico Andrea Francesco Alberto De Chirico Armida Arte Arte Moderna Carro Chariot Drago Dragon Florentino Gioacchino Rossini Il Novecento Matita Modern Art Museo Pencil Pittura Savinio Alberto 1891 1952 Teatro Tempera The 20 Century Toscana Tuscan Xx Secolo Bozzetto
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EDITORS COMMENTS
This print showcases the intricate stage equipment for Act II, first scene and third act of Gioachino Rossini's opera "Armida". Created in 1952 by Alberto Savinio, this pencil and tempera on canvas board artwork depicts The Chariot of Armida with remarkable detail. The composition exudes a sense of grandeur and theatricality, transporting viewers to the enchanting world of the opera. The chariot itself is adorned with ornate designs and embellishments, reflecting the opulence and extravagance often associated with operatic productions. Savinio's skillful use of pencil and tempera brings depth and texture to the artwork, enhancing its visual impact. Each stroke captures the essence of movement as if frozen in time, adding an element of dynamism to the static medium. Displayed at Museo Novecento in Florence, Italy, this piece exemplifies Savinio's mastery as an artist during the mid-20th century. It serves as a testament to his ability to translate music into visual form through his bozzetto (sketch). As admirers gaze upon this print, they are transported into a realm where art converges with performance. They can almost hear Rossini's melodies resonating from within the vibrant colors and intricate details captured by Savinio's hand. Overall, this print encapsulates both artistic excellence and cultural significance—a true celebration of Italian opera fused with visual artistry.
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