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About fraoli2

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  1. Thank you very much for your immediate feed back to my message. TheEnglish version of my work on the Pietà is work in progress, and is going to be quite different from the original Italian, to take into account a localized approach. Thus the trip to NYC - with all the controversy and finally astonishing success - is the core, altogether with the history and art analysis of Michelangelo's early masterpiece. Just to give you an idea I can send you a firts chapter- In New York: disputes and record number of visitors The Pietà, the undisputed queen of the statuary art, was awakened in the early hours of April 3, 1964, just before dawn. She had to get ready for a very long journey – at least 7,000 km (more than 4,000 miles), by land and sea - and had to be prepared adequately. In the cold and still dim light of St Peter’s Basilica in the Vatican, seven persons with palpable emotion and respect were ready to start one of the most challenging and controversial operation in the history of art conservation and logistics. It was not simply cosmetics. Her extremely delicate, shining, alabaster translucent skin needed a special protection to avoid the slightest friction, even of human hands. It was the first time that she was moved from her abode, in the first chapel of the right aisle of the Basilica, where she was definitely collocated in 1749, exactly two centuries and a half after she was created by Michelangelo Buonarroti in the last years of the 15th century. Actually, the Pietà was the first - and so far only - work of art to be moved from the Basilica of St. Peter’s. The program was a long journey across the Atlantic Ocean and an even longer staying in New York City, at the Vatican Pavilion where she would illustrate the World’s Fair, that was going to show to millions of visitors the state of art of science, production, culture in our planet. Marvel among marvels, the Pietà was to represent an oasis of spirituality and quiet contemplation in the midst of the peculiar mayhem of all fairs. Furthermore, she was to materialize the message flagging as a heading on this World Fair: “Peace through Understanding”. And what more than the meditation on the supreme sacrifice of Jesus Christ and the desperate though silent sorrow of his mother, the Virgin Mary, could suggest the repulse of any thought of violence and death? The Pietà would be with no doubt the most important work of art on display at the Fair, that anyhow would host a number of other masterpieces of highly respected artists of all times, from Rubens to El Greco to Picasso. Actually, the statue, carved in pure Carrara marble, is generally held to be one of the finest examples of Christian art in any medium. It is not an exaggeration to state that it is one - if not the one- most famous universal art works, a masterpiece recognized since it came out from the hands of its incredibly young creator. The Florentine Michelangelo was just 22 years old when he got the commission for this statue by a cardinal, ambassador of the king of France at the Pope’s court in Rome. When the statue was unveiled in 1500 he was still unknown to the most so much that he decided to carve his signature on the belt crossing Mary’s chest to claim his authorship. And almost over nightly he became the most acclaimed sculptor in Rome and by large in the world, spanning his genius for the next 65 years, marking all the fields of arts in that splendid spectrum of European 16th Century. The improbable, or at least unpredictable journey of the Pietà was the climax of a story that time was swollen overflowing in the religious, political, artistic and even technological. Splitting into two confronting camps professionals, experts, critics and general public, becoming a topic of debate in intellectual circles, in newspapers and earnest discussions in the bars and cafes. The controversy broke out immediately, as soon as it became known that the powerful Cardinal and Archbishop of New York, Francis Spellman, had put forward a request to Pope John XXIII absolutely unprecedented: the loan of the art world's most popular, the early masterpiece by Michelangelo Buonarroti. The statue was supposed to be the central point of the pavilion that the Vatican had set up, with the dollars of the American Church, inside the World's Fair in New York, in two scheduled semi-annual sessions (April to October) in the period 1964-65. To many it seemed like a joke or an attempt to propagate the Fair that due to various boycotts, national and especially international, was in danger of sinking at the start. But they did not know enough about the Cardinal with a steady hand that held the powerful and wealthy diocese of New York since 1939. Spellman, the typical Irish self-made man of the “American dream”, had been the pupil of Eugenio Pacelli even before he became pope Pius XII and in time he had woven a series of friendship and mutual protection threads with personalities from all theological and ideological sides, never hiding the fact that his own choices were decidedly conservative and always pursuing the interests of "his" Church. Confidant of Democratic President Franklin D. Roosevelt; closely tied to the military in his office of Vicar General for Catholics enlisted in the U.S. Army; major sponsor during the Cold War of the anti-Communist crusade of Senator Joseph McCarthy, who went on to justify from the point of view of religion; feared by John F . Kennedy, the first and so far only Catholic president of the United States; at the side of President Lyndon Johnson during the escalation of the Vietnam War, who blessed as a "clash of civilizations"; member of the Bureau of the Second Vatican Council; influential kingmaker in the conclaves of 1958 (Pope John XXIII) and 1963 (Paul VI): Cardinal Spellman was not one to whom one could easily say "no". Especially if, as in this case, as we shall see, his prestige was at stake, or at least he thought so. --------------------- Thanks for your attention!
  2. That's a great news! I would like you to know that I just published a monography on Michelangelo's Pietà. There is a large section dedicated ti the first and only trip of the statue out of St. Peter's basilica to be exhibited at the New York's World Fair. My work is in Italian, but I am working on an English version focused on the 1964-'65 event with an interesting (in my oponion) comparison with the exhibition of Leonardo's Mona Lisa just a year earlier, sponsored by Jackie Kennedy. If you evaluate that any form of collaboration might be considered between your initiative and my work, I would be most grateful and keen to further discuss the issue with you, giving all the details you may ask. I would highly appreciate an answer in any case, for which I thank you in advande. Sincerely, Franco OLIVA fraoli2@libero.it MY BOOK ON THE PIETA' in AMAZON KINDLE (http://www.amazon.it/La-Piet%C3%A0-Michelangelo-fiore-letame-ebook/dp/B00FY3YPCW/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1382028519&sr=1-1&keywords=piet%C3%A0+michelangelo)