{"id":5557,"date":"2025-05-21T10:14:53","date_gmt":"2025-05-21T08:14:53","guid":{"rendered":"https:\/\/gnamc.cultura.gov.it\/cecco-bonanotte-la-donazione-per-il-giubileo\/"},"modified":"2026-09-07T11:56:31","modified_gmt":"2026-09-07T09:56:31","slug":"cecco-bonanotte-la-donazione-per-il-giubileo","status":"publish","type":"post","link":"https:\/\/gnamc.cultura.gov.it\/en\/cecco-bonanotte-la-donazione-per-il-giubileo\/","title":{"rendered":"Cecco Bonanotte. The Jubilee Donation"},"content":{"rendered":"

GNAMC is participating in the celebrations of the 2025 Jubilee by acquiring for its collections and exhibiting to the public two significant works by the artist Cecco Bonanotte, generously donated for the occasion. The artist is a great master of contemporary sculpture, well known to the general public in Italy as the creator of the large bronze Door at the entrance to the Vatican Museums, inaugurated by John Paul II precisely on the occasion of the 2000 Jubilee Year.<\/p>\n

Bonanotte\u2019s biography recounts a long and intense artistic career, recognized and awarded from a very young age, marked by public and private commissions that have led to the creation of monumental works both in Italy and abroad. Particularly in Japan, where Bonanotte lives and works. Japan honored Bonanotte with the prestigious Praemium Imperiale for sculpture in 2012 and dedicated two monographic museums to him, the Kazen in Tokyo and the Hisamitsu Cecco Bonanotte Museum in Tosu City, Saga.<\/p>\n

Throughout his long artistic career, Cecco Bonanotte has consistently acted as an ambassador for Christian hope, creating magnificent works that bring together form, matter, emotions, feelings, nature, and spirituality. The works exhibited at GNAMC embrace the motto of the 2025 Jubilee, \u201cPilgrims of Hope,\u201d echoing the words of Pope Francis: \u201cWe must (\u2026) do everything we can so that everyone may regain the strength and certainty to look to the future with an open heart.\u201d<\/p>\n

A hope that tears through metal and ventures beyond it in search of the future, opening into the void toward new dimensions, as if reaching toward a horizon that calls upon humanity to actively build, to envision, and to commit.<\/p>\n

 <\/p>\n

\"\"
The Divine Comedy, 2001
Execution technique: graphite on Fabriano F4 paper (220 g\/m\u00b2).
The work consists of: 34 cantos of Inferno (1 + 12 sheets), 33 cantos of Purgatorio (1 + 11 sheets), and 33 cantos of Paradiso (1 + 11 sheets). Each cantica is introduced by a sheet measuring 43.5 \u00d7 31 cm, followed by sheets (each containing 3 cantos) measuring 33 \u00d7 70 cm.<\/figcaption><\/figure>\n

 <\/p>\n

As Antonio Paolucci wrote, Cecco Bonanotte\u2019s art \u201cis a code of lightness and elegance, like the veins of a leaf seen in transparency, like the frost flowers that form on glass on certain winter dawns, like clouds that veil the sun without hiding it,\u201d and again, \u201cit is like bringing a seashell to one\u2019s ear to listen to the breathing of the sea. In this case, the seashell is the Poem, and the vast murmur that the artist has managed to capture, enchanting us spectators, both admiring and somewhat intimidated, comes from the abysses of Poetry.\u201d<\/p>\n

This coded language reveals itself with extraordinary grace in the precious sheets that Bonanotte drew for \u201chis\u201d Divine Comedy. Dante\u2019s story is whispered through delicate strokes, in a fantastical interplay of greys, in the perfection of certain contours, with rare appearances of color.<\/p>\n

A technically masterful language that whispers in order to communicate, without compromise, the power of Dante\u2019s themes, expressing through the dynamism of figures that are sometimes only hinted at, a humanity perpetually on a journey.<\/p>\n


\n<\/em><\/b>Theatre of Memories \u2013 Polymaterial 4, 2014<\/strong><\/em>
\n4 polymaterial panels: bronze, brass, copper, aluminium, Corten steel; each 200 \u00d7 100 cm<\/em><\/p>\n

Micol Forti writes:<\/p>\n

\u201cThey are landscapes of the soul, an open window onto a world intuited, apprehended in its full enigmatic harmony. The scents, sounds, and forms gradually become clearer, more evident, if only we pause to breathe, to listen, to observe. Some modules are slightly raised or marked by small fissures, suggesting that the space of art is infinite; human figures stroll or pause, suspended between our world and theirs; others, in very low relief, can barely be distinguished from the surface and fly freely together with the rich universe of signs.\u201d<\/p><\/blockquote>\n

Bonanotte personally engages with the material, shaping it from the initial drawing, moving on to the creation of the wax or plaster maquette, then to a sophisticated selection of metals, considering different types according to the casting process, and finally completing the work with patination. In Bonanotte\u2019s work, the technical aspects of the modelling processes coincide with the formal and expressive ones, creating a language that is both rich and powerful, in which a play of patinas, colors, transparencies, and luminescences gives the surfaces a pictorial as well as sculptural quality.<\/p>\n","protected":false},"excerpt":{"rendered":"

GNAMC is participating in the celebrations of the 2025 Jubilee by acquiring for its collections…<\/p>\n","protected":false},"author":2,"featured_media":1328,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[146],"tags":[],"class_list":["post-5557","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-donazioni"],"acf":[],"_links":{"self":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts\/5557","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/comments?post=5557"}],"version-history":[{"count":2,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts\/5557\/revisions"}],"predecessor-version":[{"id":5559,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts\/5557\/revisions\/5559"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/media\/1328"}],"wp:attachment":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/media?parent=5557"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/categories?post=5557"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/tags?post=5557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}