"The city of Florence is paying homage to Jackson Pollock, well-known for his all-over syncretistic paintings, by connecting his work to that of Michelangelo’s. This unusual pairing was conceived and curated by Sergio Risaliti and Francesca Campana Comparini…"
"The exhibition’s title, The Figure of the Fury, refers to Pollock in the act of painting as he moved around his canvases, while simultaneously alluding to the expression, “fury of the figure” by the 16th-century art theorist and painter Giovanni Paolo Lomazzo (1584). Lomazzo pointed out that what bestowed furious qualities to a figure is a sensed motion similar to that of a flame; the same swirling motion that Michelangelo gave to his figures that is here assigned to Pollock. (Even though Pollock only become acquainted with Michelangelo through book reproductions during his studies under Thomas Hart Benton.)"
"Pollock sought to create a spatial continuousness that no longer distinguished between the pictorial space and the area in which the viewer stood. As such, Pollock’s imposing paintings demand that the observer relinquish intellectual control (as the beholder is now torn free of unyielding, Renaissance perspective) and dive into the energetic color/movement (through the eye being drawn into the excessive aspect of the painting) and therein dissolve into the dazzling chaos of the individual lines which are also, at the same time, creating a uniformly structured whole-field."
"Taking this ‘wallpaper […] repeated indefinitely around the wall’ aspect seriously, the architect Peter Blake, in planning the architectural strategy for what was proposed to be the Jackson Pollock Museum, had the idea (with Pollock) to extend the paintings indefinitely around the space. In an article concerned with the project named ‘Unframed Space: A Museum for Jackson Pollock’s Paintings’ in Interiors magazine, Arthur Drexler wrote that Pollock’s paintings ‘seem as though they might very well be extended indefinitely, and it is precisely this quality that has been emphasized in the central unit of the plan.’ About the continuous rhythms of Pollock’s paintings, Drexler goes on to describe how, in the model of the museum, ‘a painting 17 feet long constitutes an entire wall. It is terminated on both ends not by a frame or a solid partition, but by mirrors. The painting is thus extended into miles of reflected space, and leaves no doubt in the observer’s mind as to this particular aspect of Pollock’s work.’"
"This immersive Pollock effect is here radically reversed — as we encounter his modest-in-scale work after a lengthy, massively engulfing walk through the Palazzo Vecchio itself, with its extravagant connected room after room of Mannerist Grotesque murals, ceiling paintings and stucco. Most notably here was the Room of Lorenzo the Magnificent, covered, as it is, in immersive stucco murals (1556–1558) by Leonardo Ricciarelli, Giovanni Boscoli and Mariotto di Francesco based, supposedly, on drawings by the architect Bartolomeo Ammannati."