Camilla Nappa

14/01/2021

14/01/2021

'Anello Abbraccio', white gold and diamons, available at

13/01/2021

Ettore Spalletti, 'Un giorno così bianco, così bianco', 2013 Color impasto on panel, gold leaf, 11 indivisible panels.⠀
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Installation view Rome, 2014.⠀
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Courtesy ⠀
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12/01/2021

'Freccia Ring', gold, mother of pearl and pavé set diamonds available at

26/06/2020

03/05/2020

Raffaello Sanzio, Deposzione, 1507, oil on board, 184x176.
This is Raphael's first revolutionary attempt to make a historical picture. Note the cold and sharp stamp that crystallizes the colors, while leaving intact the sweetness of faces and bodies; finally, note the silent landscape of clouds in the sky, which gives us the poignant sense of the hour and the season.
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È il primo rivoluzionario tentativo di Raffaello di fare un quadro storico. Si noti il timbro freddo e tagliente che cristallizza i colori, pur lasciando intatta la dolcezza dei volti e dei corpi; si noti invine il paesaggio silezioso delle nuvole nel cielo, che ci dà il senso struggente dell’ora e della stagione.
[M. G. Ciardi Dupré, Raffaello, in "I maestri del colore", XII, Milan, 1964].

02/05/2020

Colantonio del Fiore, St. Jerome in the study, c. 1445, oil on panel, 125x151 cm
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This was probably commissioned, together with the painting of 'St. Francis handing over the rule to the first and second Franciscan orders' (kept in the same room at the ) by Alfonso D'Aragona (King of 1442 - 1458), between 1444 and 1446 for the Franciscan basilica of in Naples, from where it was transferred to the in 1808.
The depicts St. Jerome freeing the lion's paw from a thrust, who became, in gratitude, his meek companion. In it prevails the -Borgundian culture in which the was formed under the influence of and , a guest at the court of Renato d'Angiò in 1438-42.
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Questo dipinto fu probabilmente commissionato, insieme alla tavola raffigurante San Francesco consegna la regola al primo e secondo ordine francescano (conservata nella stessa sala al Museo di Capodimonte) da Alfonso D’Aragona (re di Napoli 1442 - 1458), fra il 1444 e il 1446 per la basilica francescana di San Lorenzo Maggiore a Napoli, da dove venne trasferita al museo nel Il dipinto raffigura San Girolamo che libera da una spinta la zampa del leone, divenuto, per riconoscenza, suo mansueto compagno. In essa prevale infatti quella cultura fiammingo-borgognona nella quale il pittore si formò sotto l’influenza di Jan van Eijck e Barthélemy d’Eyck, ospite alla corte di Renato d’Angiò nel 1438-42
[AA.VV., , Milano 2002, p. 57. Text by Maia Confalone]

30/04/2020

Mario Merz, Onda d’Urto, 1987, iron, neon, newspaper glass, stone.
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explores the relationship between natural energies and cultural energies. Onda d’Urto (Shock Wave) is composed of printed and distributed in upon which numbers in the series have been placed, derived from the mathematical studies of the 13th-century Pisan mathematician, Leonardo Fibonacci. Mertz was fascinated by the Fibonacci series, which represents proportions seen in nature and culture, from botany to music, and in which every number after the first two is the sum of the two preceding ones. Above the row of newspapers, a succession of intersection metal arches refers to the energy channelled by the forces within the delineated filed, evoking a primordial and precarious , similar to the igloo of many Merz’s environmental .

27/04/2020

, 'Gli Iconoclasti', 1855, oil on canvas, 262x213 cm
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The , signed and dated 1855, was purchased at the Bourbon Exhibition that year. It depicts the struggle that the authorities conducted against Catholics, accusing them of idolatry: some soldiers persecuted a monk by destroying and ripping religious images. Morelli, as he himself recounted, chose this subject for the easy allusions to the liberal patriotic uprisings of the time. During the elaboration of the painting he, looking for a "subject that meant a martyrdom of the soul", depicted in the guise of the monk-painter Lazarus, a young liberal persecuted by a policeman, and the Bourbon sovereign showed that he understood this allusion.
Morelli stated that "his was to represent figures and things not seen but imagined and true at the same time" and this work represented the achievement of a new socio-romantic sensibility expressed in a renewed pictorial language.
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Il dipinto firmato e datato 1855, fu acquistato all’Esposizione Borbonica di quell’anno. Raffigura la lotta che le autorità bizantine conducevano contro i cattolici, accusandoli di idolatria: alcuni soldati perseguitano un monaco distruggendo e strappando immagini religione. Morelli, come raccontò lui stesso, scelse questo soggetto per le facili allusioni ai moti liberali patriottici del momento. Durante l’elaborazione del dipinto egli, mirando alla ricerca di un "soggetto che significasse un martirio dell’anima”, raffigurò nelle vesti del monaco-pittore Lazzaro, un giovane liberale perseguitato da un poliziotto, e il sovrano borbonico mostrò di aver capito tale allusione.
Morelli affermò che “la sua arte era di rappresentare figure e cose non viste ma immaginate e vere ad un tempo” e quest’opera rappresentò il raggiungimento di una nuova sensibilità socio-romantica espressa con in rinnovato linguaggio pittorico.
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[AA.VV., , Milano, 2002, p. 390. Text by Mariaserena Mormone]

11/04/2020

Walter De Maria, Bel Air Trilogy, 2000-011, 3 elements, Stainless steel rods with 1955 Chevrolet Bel Air tow-tone hardtop.
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"Bel Air Trilogy" (2000-2001) looks like an unlikely dealership where the have been polished, enhancing the chrome of the bodywork and the aesthetics of the single studied details, showing at its best the colour contrast between the bright red of the hood and the cream of the boot, colours of which the rims are also dyed. The interior is also impeccable, and one could and would comfortably sit inside these collector's items if it weren't for the fact that every vehicle is crossed from the windscreen to the rear window by a metal bar, which slips naturally into the glass, however, cancelling the appeal and comfort for driver and passengers. The three bars have different sections that take up the three basic geometric shapes: square, circle and triangle. The are not only impossible to drive because of the presence of these long intruders, but also because their wheels have been deflated, their mirrors detached and their engines removed. We are therefore in the presence of objects that have not only been defunctionalised but have been taken out of context and raison d'être. If the crossing operation could recall works such as Robert Gober's "Madonna" of 1997, the latter, precisely because it questioned the iconography of the Virgin, repowered its reading in different ways.
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The cars are now only accumulations of beautiful, sparkling, elegant, very American, objects, but in the end matter. It is the measurement and definition of an object reduced to a monad, and in this sense, it is linked to the work with which it shares the plane.
Simone Costantini https://www.juliet-artmagazine.com/
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09/04/2020

Carsten Höller, Upside Sown Muschroom Room, 2000, Styrofoam, polyester, polyurethane, wood, metal construction, electric motors.
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(Brussels, 1961) helped bring production closer to reality, stirring up unusual and surprising reactions in those who view his . Höller’s work is aimed at individuating new possibilities for perceiving existence through a method of rigorous investigation similar to scientific research.
The project entitled Synchro System (2000), designed by Höller for Fondazione Prada’s spaces, consists in the realization of a ‘village of possibility’ composed of psychophysical stimuli and interactive tools. Within a labyrinthine, sensorial route, the viewer faces progressive situations of altered perception caused by intermittent lights, devices that affect corporeal sensations, dark and disorienting spaces, and environments that provoke a hallucinatory effect.
The title refers to the synchronization between viewer and artwork, between human beings and ‘machine effects’: like tools, these systems have an operational function that achieves results only when working in synchronicity.
The work is part of "Atlas", the exhibition project emerged from a dialogue between and dedicated to the collection hosted in Torre.⠀