Fino al 7 febbraio 2017, il Fries Museum di Leeuwarden fa da cornice a una mostra davvero affascinante, primo appuntamento delle iniziative pensate in vista del 2018, quando la città della Frisia sarà Capitale Europea della Cultura. Ad aprire le danze è l’inarrestabile Lawrence Alma-Tadema, cui è intitolata la rassegna Classic Charm. Amante del dettaglio e di una tecnica pittorica rigorosa, l’artista ottocentesco ha saputo dare corpo a un immaginario decisamente classico, facendo convivere nei suoi dipinti atmosfere rarefatte e un impianto formale di estrema puntualità.
Sir Lawrence Alma-Tadema, Amo Te Ama Me, 1881, Collection Fries Museum, Leeuwarden – acquisition supported by the Rembrandt Foundation, the Mondriaan Fund and the Wassenbergh-Clarijs-Fontein Foundation
Sir Lawrence Alma-Tadema, The Roses of Heliogabalus, 1888, 7. Colección Pérez Simón, Mexico. Photo © Arturo Piera
Sir Lawrence Alma-Tadema, Unconscious Rivals, 1893, Bristol Museums & Art Gallery, Bristol
Sir Lawrence Alma-Tadema, Coign of Vantage, 1895, 1. Collection of Ann and Gordon Getty
10. Cajus Julius Caesar, Enrico Guazzoni, Cines, 1914. Photo © EYE Film Museum, Amsterdam
Sir Lawrence Alma-Tadema, Interior of the Church of San Clemente, Rome, 1863, 5. Fries Museum, Leeuwarden – Collection Royal Frisian Society, gift of Laurence Alma-Tadema, 1935 – conservation of frame supported by the Wassenbergh-Clarijs-Fontein Foundation, 2015. Photo © Martin Rijpstra
Sir Lawrence Alma-Tadema, The Entrance of the Theatre, 1866, 4. Collection Fries Museum, Leeuwarden – acquisition supported by the Rembrandt Foundation (in part through its Saskia Fund), the BankGiro Lottery, the Mondriaan Fund, the Wassenbergh-Clarijs-Fontein Foundation and the Friends of the Fries Museum. Photo © Martin Rijpstra
Sir Lawrence Alma-Tadema, Self-Portrait of Lourens Alma Tadema, 1952, 9. Fries Museum, Leeuwarden – Collection Royal Frisian Society, Bequest of Sir Lawrence Alma-Tadema, 1912 – conservation of frame supported by the Wassenbergh-Clarijs-Fontein Foundation, 2015. Photo © Martin Rijpstra