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| Pietro Maria Bardi was the curator of the ], ]. He was born ] and stirred the Brazilian artistic community with his new ideas about popularizing museums by making both modern and classical art accessible to the masses. | '''Pietro Maria Bardi''' (], ], ] — ], ], ]) was the curator of the ], ]. He was born ] and stirred the Brazilian artistic community with his new ideas about popularizing museums by making both modern and classical art accessible to the masses. | ||
| Hand-in-hand with this idea, he had a conception of an open, wide space of exhibitions where paintings were fixed to acrylic pedestals, thus making the whole space visible at once and the works seemingly suspended in space. The substitution of traditional walls for the acrilic pedestals is one of the big points of contention in the ] artistic community. | Hand-in-hand with this idea, he had a conception of an open, wide space of exhibitions where paintings were fixed to acrylic pedestals, thus making the whole space visible at once and the works seemingly suspended in space. The substitution of traditional walls for the acrilic pedestals is one of the big points of contention in the ] artistic community. | ||
Revision as of 21:41, 17 February 2006
Pietro Maria Bardi (La Spezia, February 21, 1900 — São Paulo, October 10, 1999) was the curator of the São Paulo Art Museum, Brazil. He was born Italian and stirred the Brazilian artistic community with his new ideas about popularizing museums by making both modern and classical art accessible to the masses.
Hand-in-hand with this idea, he had a conception of an open, wide space of exhibitions where paintings were fixed to acrylic pedestals, thus making the whole space visible at once and the works seemingly suspended in space. The substitution of traditional walls for the acrilic pedestals is one of the big points of contention in the São Paulo artistic community.
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