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The artsupp.com website is a multilingual platform dedicated to the promotion of cultural institutions. The contents of the Site and the rights related to them are reserved, therefore they can be consulted exclusively for personal information purposes, any other use being expressly prohibited without the prior written consent of artsupp.com.
The company Restart S.r.l., with registered office in Rome in viale Angelico n.101, registered in the Register of Companies under no. RM - 1450606, tax code and VAT number no. 13481941006, is the owner of the platform called Artsupp - reachable at the web address 'https://www.artsupp.com'.
This regulation contains the rules governing the relations between Restart S.r.l. its Partners and supporting users of the Platform. The provision of services by Restart s.r.l. through the Artsupp platform in favor of the Partner who wants to propose a fundraiser (hereinafter: Partner) is subject to the following terms and conditions.
After registering and completing the profile in all its sections, the Partner can use the Site to publish their fundraising project, according to the methods described below.
The Partner undertakes to keep the access credentials and to prepare backups of all the content uploaded. For this reason, the Partner exonerates Artsupp from any responsibility in this regard. Artsupp is authorized to keep browsing logs in accordance with its current Privacy Policy and to suspend the account in case of misuse of the pages.
During the fundraising phase, the Partner will come into possession of information such as name, surname, e-mail address, of each individual Supporter. The Partner, by accepting these Terms of Use, indemnifies Restart srl, as owner and manager of the artsupp.com platform, from any violation, or improper use, of such data and information, or where they are used for purposes unrelated and / or illegal with respect to the "Terms and Conditions" and the "Fundraising Terms and Conditions", assuming full civil and criminal liability deriving from illegal and improper use of such information.
The Partner is solely responsible for the project, files, images and content published and its realization and expressly exonerates Artsupp from any responsibility in relation to the legitimacy, correctness, cost-effectiveness, convenience and execution of the Project itself and this circumstance will be given. evidence on the site by means of the appropriate wording. The Partner undertakes to send Artsupp files, images and / or videos of which it is the owner of the relative rights of use, relieving Artsupp from any third party claims regarding the use and content of said files, images and / or videos. The partner also undertakes to send virus-free files, images and / or videos, and in any case not such as to compromise in any way the hardware or software of the portal or of those who view or download them.
By "project" we mean any activity that aims to enhance and / or improve the cultural offer and services offered to the public by the institution. Any activity that positively affects the cultural offer is eligible:
By way of non-exhaustive, we report some categories of projects admitted by the Platform:
In any case, Artsupp reserves the right to refuse the publication of the Project or to suspend the campaign, in any case in which the products or services offered by the Partner are not compatible with the image or reputation and ethics of Artsupp.
The Partner raises Restart S.r.l. from any responsibility on the project both in the design phase and in the construction phase, committing to respect what is reported in the project description with regard to objectives and timing, also guaranteeing Restart S.r.l. and to supporting users that what has been declared corresponds to the truth and in particular that the project has been drawn up by specialized subjects.
The Partner can choose from the following fundraising models:
Fundraising without a minimum economic objective and a defined time limit.
The Partner is entitled to the payment of the sums collected, net of the Payment Commissions specified below and of a commission in favor of Artsupp equal to 5% including VAT of each payment.
The Supporter proceeds to provide the loan through the payment services offered and managed entirely by STRIPE Inc. (or any other payment service manager chosen by Artsupp), through its own platforms, which constitute market standards. In this regard, therefore, the Partner exonerates Artsupp from any responsibility in this regard. For each payment made, STRIPE Inc. retains a commission for the management of the payment service (referred to above as Payment Commission), in accordance with its own policies and contractual conditions. Therefore the Partner receives the sums disbursed by the supporters net of this commission. The costs of the payment system are established exclusively by the manager and, using credit cards and current accounts located within the Euro area, are generally the following:
(Euro area): 1.4% + € 0.25 for each donation received
(non-Euro area): 2.9% + 0.25 € for each donation received
For further details see: https://stripe.com/it/pricing
Restart srl, through the artsupp.com platform, is in no case responsible for the transaction costs applied by the payment system operators, nor for the possible variations that such costs could undergo over time, limiting its action to providing adequate information to users. of the platform regarding such possible variations.
Furthermore, in cases where the Artsupp service is subject to a fee, STRIPE Inc. also retains this amount on each payment made by the Supporters, and reverses it in favor of Artsupp. In this case, therefore, the Partner receives the sums disbursed by the supporters net of the payment commission and the commission due to Artsupp:
- Artsupp Fee for "Fundraising" projects: 5% VAT included;
Commissions are payable on each donation. Both STRIPE and Artsupp will issue the due accounting documents relating to collections and made out to the beneficiary of the service, as required by law.
Any accounting, fiscal and administrative fulfillment inherent in the subscriptions received is the sole responsibility and responsibility of the Partner, who will therefore promptly provide for invoicing, declarations, certifications and anything else required by current legislation.
Artsupp reserves the right to modify, without prior notice, the layout, graphics, dimensions, colors of the Site and of the pages in which the Project is presented. It also reserves the right to insert, add, modify and in any case completely freely manage the spaces of these pages, adding, removing, overlapping information, communications, advertisements, images, banners and any other content it deems appropriate.
The Partner remains the exclusive owner of what is published on the platform in its reference section. Artsupp may use the means at its disposal, online and offline, the information, the contents disseminated and the data relating to everything that will be published on www.artsupp.com in order to promote and advertise the platform and the Partners. This contract is subject to Italian jurisdiction and, in the event of disputes, the competent court is that of Rome. Roma, Rome, February 2022
The website artsupp.com is an online multilingual platform dedicated to the promotion of cultural institutions. The site content and its rights are reserved and can be referred to only for personal information. Any improper use of the site information without prior consent of artsupp.com is strictly forbidden. Restart S.R.L is a company based in Rome, Viale Angelico n.101, registered on the Registro delle Imprese with number RM – 1450606. Tax reference and VAT number 13481941006 and owns Artsupp, available online at http://www.artsupp.com. The guidelines below include norms regulating relationships between Restart S.R.L, its customers and those visiting the platform Artsupp.
Arstupp Visitor: he who visits the various webpages on Artsupp.
Artsupp User: he who freely subscribe to the platform Artsupp.
Artsupp Partner: any cultural institution having the requisites whose identity is verified upon joining the platform Artsupp.
A Visitor becomes User once he fills out the registration form with personal data (username/email/password), or accessing through their Facebook account. The User pledges to provide information to Artsupp which is true and accurate, and to update it thereafter in their most current form. Every User is responsible for his own account and for all activities carried out from it; every User is responsible for keeping his credentials secrete and not to share them with other Users. In so doing, the User waives Artsupp from any responsibility in the matter.
Any permanent or temporary cultural institution that, according to its own identity, manages and preserves historical heritage for the benefit of the public can be a Partner on the platform Artsupp. Artsupp reserves the rights to assess the appropriateness of all subscription requests.
Every institutions meeting the above requirement can become a partner after providing to Artsupp all necessary information to verify their identity. The following contents are also required for the creation of the Institution pages on Artsupp:
1. Institutional Name;
2. Description of the Institution;
3. Location;
4. Opening hours;
5. Website;
6. Avatar;
7. Profile Image of video;
8. Images showing the spaces;
9. Images from the collection;
10. Taglines for the images shown (author, name of the work, date, technique);
11. Press release for current exhibitions or future events.
All information included in the profile must be accurate, complete and truthful. Once the required information has been provided, Artsupp will take the necessary time to verify its appropriateness and will proceed to activate the online space reserved to the Partner
Each Partner will be able to access the following pages:
Info: this section is aimed at highlighting the spaces of the Institution. A short description of the Institution together with images of its spaces and information around opening times will be included, along with the official link to the Institution website.
Events calendar: this section is for the Institution to share calendar of future events and cultural programs.
Collection: a brief overview of the works part of the collection. In cases where the Partner does not have a permanent collection, images of the works temporarily exposed will be uploaded.
Contents published on the Profile are public and will be visible online. The Partner Institution pledges to submit files, images and/or video material of its own property, waiving any responsibility of publishing copyrighted material without prior consent from Artsupp. Likewise, the Partner pledges to submit material not corrupted by virus or in such format as to guarantee no damage to the hardware or software of the portal or of those who will visualise it or download it.
Artsupp offers to its Partners a free web portal developed with the aim of boosting their interaction with the public of the arts and of cultural institutions. All tools of the Platform aimed at marketing and communication are managed autonomously by Artsupp depending on its needs and objectives. Artsupp offers to the individual Partners visibility on the platform, committing to communicate to its own Users with the available means the activity and the content of the Partners’ cultural offer. Artsupp cannot guarantee that the content of individual Partners will have equal visibility to its Users. It is beyond the control of Artsupp to verify in advance the possible results of the online search, the order of pages or the corresponding content. Artsupp cannot be held responsible from the Users or third parties for what will come out of the web search. Partners remain exclusive owners of what published on the platform in their dedicated section. Artsupp will be able to use with the available means, online and offline, the information, the content and the data made public on www.artsupp.com with the aim of advertising and promoting the platform and the Partners. In order to protect the image rights of Individual Partners Artsupp won’t allow the content of the Platform to be available to download. Information included in the website is published in good faith of its authenticity and truthfulness. Artsupp, notwithstanding its dedication to maintain the website in good order and the information therein reliable and up to date, declines any responsibility for direct or indirect damage resulting from incorrect information having been included on the platform, particularly in those circumstances where information included might be interpreted by the Users as a foundation for decisions on initiative of economic or financial nature.
Artsupp is committed to maintain its Platform as secure as possible. It is necessary that Users contribute to the security of the Platform by ensuring that: No unauthorized commercial communication (e.g. spam) is included on Artsupp.com; No information is asked from other Users; No access to Artsupp is made through automated tools (e.g. robots, spiders or scrapers) without previous authorization from Artsupp; No virus or other damaging codes are uploaded; No access information is requested from other Users and no attempt to access other Users’ accounts is made; No denigration or derogatory language is used against other Users; Artsupp is not used for illegal, deceptive, discriminatory or derogatory purposes; No action that might hinder the correct functioning or the aspect of Artsupp is carried out (e.g. negation of the service or any action that might disturb or interfere with the pages rendering or other functions of Artsupp); No attempt is made to favour the disobedience to the above guidelines. Artsupp reserves the right to delete the Accounts of those Users who do not respect these guidelines.
The website contains hyperlinks to third party websites. The existence of such links does not imply that artsupp.com sponsors or is affiliated with the subjects owners of these pages. Artsupp.com declines any responsibility in regard to the content of the linked websites and advises Users that connection to such links happens at their own risk and is beyond the control of Artsupp. Artsupp advises Users to take all precautions against viruses or other potentially harming elements. Artsupp is not responsible for other sites’ content.
All material published on Artsupp is under copyright of Artsupp.com or third parties. In this regard, we remind Users that the Legge sul Diritto D’Autore forbids unauthorised reproduction and public dissemination (also through file sharing) of works under copyright. It is therefore prohibited to upload online or to exchange works without prior authorization from the authors. The above Law regulates sanctions for the non-compliant. Those found to contravene the above regulation will be prosecuted according to the Law. Likewise, Users should notify Artsupp of copyrights to give Artsupp the possibility to verify them. The present contract is subject to the Italian jurisdiction and the Roman court of justice is the most competent one, should controversies arise.. Rome, February 2018
"I've never seen René Magritte.
Maybe I'm wrong, but I've always had the impression that to laugh he had to go down to the cellar. Was he suffering from great loneliness, or from inner coldness? I'm not the most sociable either, but in his being and in his paintings I see something repulsive, or at least alien to me. To be clearer: I perceive the elegant, tragic helplessness of his atheism. Perhaps (and I say "maybe" only because I don't want to pretend to express a clear judgment) he did the best that the "Classical Surrealism" of the time could achieve. His derailments, I think above all (but not only) of his "impressionist phase", show the tragedy of those who never walk a path and necessarily get lost in the process. But artists have the right to be judged for their best work. Anyone who wants to paint and, logically, cannot yet, is fascinated by role models and will try to imitate them. But he should not identify with the respective role model but soon take other paths, because everyone has his own inner life, his own beyond, and only that belongs to him. No surrealist can copy from another. What he paints necessarily becomes something previously unknown, even incomprehensible. Whether this should be called "surrealism" or not is irrelevant. You ask me to what extent René Magritte has influenced me in my work. Well, I looked at her photos and thought about it. Sometimes I have deliberately cited motifs from him or further developed them. I did something like this with Michelangelo and Titian, out of admiration, so to speak. And maybe something slipped inside me out of laziness or unconscious.
But not all apples are stolen somewhere. "
Text by Wolfang Lettl
In his speech at the opening of the exhibition: "To be human - an attempt" on December 15, 2006, Wolfgang Lettl made the following remarks about the image: "Yet she does not go away":
Don't expect me to tell you much about Goya's Marchesa de la Solana. I copied it because I liked it so much.
I can do it.
Then I freed it from its brown portrait background, took it a little off the center of the image, and placed it in an open landscape. No, not a beautiful landscape from the south, but rather a piece of the Po Valley with ugly industrial architecture and, in contrast to the proud Spaniard, three arrogant hollow heads in an impossible flying machine.
However, with freshly polished shoes.
Labyrinth (text: Wolfgang Lettl)
In my imagination, a labyrinth is such a complex and intricate structure that once you enter, you can hardly find your way back, except with Ariadne's thread. Getting lost in such a labyrinth is one of the fundamental experiences of modern man. Surrealism as a whole can be described as labyrinthine: many puzzles, many questions, no answers, no way out. I wanted to tackle the subject head on: painting a labyrinth. But with no ancient buildings or playful Rococo gardens; more like a mirrored wardrobe, but I couldn't find a way to represent it convincingly. I took refuge in a clear but unreal construction, open to be able to look inside, but with no exit, where not even the Ariadne's thread can help. Maybe you can imagine something similar, thanks to your dreams? With Kafka it became "The Trial".
Wolfgang Lettl painted the picture "The Scream" in June 1989, in his second home in Puglia. This is a further development of the "Prometheus" image of the "Gray Series".
First of all, he hits the massive clay-colored torso, with clumsy hands reaching up for help and his facial expression twisted in pain. It split in the chest area and a white bird flew out. The three bars inside the torso still give the impression of a cage or of being locked up.
The male torso is on the shore of a body of water, on which there are several boats, each with a figure inside. People kneeling or sitting in boats are blindfolded with black cloths and are intent on calming themselves with the surface of the water. There is a menacing and dark atmosphere in the sky.
This is for the description of the image.
Against the backdrop of contemporary history, this picture can be seen as a turnaround, peaceful revolution and the end of the GDR.
The bust became fragile from the inside out due to the people wanting freedom. With the symbolic cutting of the Hungarian barbed wire fence by Hungarian Foreign Minister Gyula Horn and his Austrian counterpart Alois Mock on June 27, the wall suddenly became permeable. In early July, there was a massive outbound movement of citizens from the GDR through Hungary and Czechoslovakia.
How blind the SED leadership was to reality and how it tried not to let the waves beat too high will be more evident on 7 October 1989, "Republic Day" on the occasion of the celebration of the 40th anniversary of the founding of the GDR.
Erich Honecker organized the usual jubilees and popular celebrations in Berlin for the last time, but the citizens no longer identified with the party ideology. There have been numerous counter-demonstrations that have been tried to repress by force.
The last bars finally broke on November 9, 1989, when the Berlin Wall fell.
"Invitation to the coup", completed in 1981, is probably one of Wolfgang Lettl's most confusing paintings.
Everything becomes even more surreal by reading the newspaper article with surrealistic hues that Dr. Giacomino Vascello, inspired by the painting, reported to an Italian newspaper. Below is a brief summary of the article:
"INCREDIBLE: A foggiano made his contribution to the fall of the Berlin wall.
Dr. Vascello from Foggia and Wolfgang Lettl, Professor at the Academy of Fine Arts in Munich, have been good friends for many years, they meet in front of wine, good food and classical music to talk about the world of art, law and ethics. Wolfgang Lettl used the figure of Dr. Vascello for his painting "Invitation to the coup".
A few years pass and something extraordinary happens: in Germany, where election campaigns are much more based on posters and postcards than in Italy, an inexplicable whim of fate makes this painting chosen for the Campaign for the unification of the two Germanys. .
Since then, all the walls of Germany have been covered with this image, and hundreds of millions of postcard reproductions pass through the hands of millions of Germans. Both by joke and by coincidence, Dr. Vascello thus became the symbol of the spirit of the German nation.
All this was undoubtedly born between a glass of wine, Mozart's music and a bowl of steaming spaghetti but above all, of course, during discussions on the ethics of the state.
With his artist's eyes, the German painter saw the true spirit of the state in the obscure official of Southern Italy and wanted to pass on the fruit of his discovery to his compatriots and descendants.
And so a Foggia artist has become an indelible part of one of the most dramatic moments in recent history.
The "Venus Sipontina" is one of the 26 images in Wolfgang Lettl's "Gray Series" (1985-88)
The theme of the painting is respectively shown through a plate on the frame. On the back is an image attached, presumably painted on paper. There are objects on the frame.
In several variations of this series a classic element of the style of Surrealism is experimentally employed: Paint things that do not fit into an unreal space and surprising, more or less significant compositions will result.
In this picture, Wolfgang Lettl uses a nude of his wife and lover Franziska, which he painted in the Impressionist style as a background image.
In this regard he thought: “Your wife as a model is the ideal case, she is always available and if something is still missing in a painting, she can be laid down, she is always fine. As time goes by, you know it by heart, then you no longer need a model, or only very rarely a detail. Even the clothespins are always at my disposal, even if they are beautifully colored and lie so wonderfully still, that they cannot compete with my Venus. "
In the. last 10 years of his life, Wolfang Lettl collaborated intensively with his son, Florian. This made possible the creation of over 100 surreal paintings between 1998 and 2007, despite a serious illness and the decline of physical and mental abilities. As for the last painting shown here, Florian Lettl not only collaborated intensely on the development of the theme, but also finished the painting to make it available for exhibition. After Wolfgang Lettl lost his strength and realized he could no longer paint, he decided to die. He died on February 10, 2008 in the arms of his son Florian, surrounded by his paintings.
On the one hand, this final painting shows the conductor and his orchestra in an upward movement. Art comes from the unconscious, it is hidden in this painting in the depths of the water. It is the artist's creative act that elevates it to the light of day and makes it visible.
In contrast to the black-clad conductor who reaches out with both arms, with the wand emphasizing the upward movement, the white marble sculpture of San Bruno by René-Michel Slodtz, known as Michel-Ange Slodtz (1705- 1764), is already standing on its pedestal. The sculpture was made in 1744 for St. Peter's Basilica in Rome.
One hand of the Saint makes a gesture of refusal, the other is pointing downwards. For compositional reasons, the painting lacks both the putto who wants to present the bishop's insignia to the saint, and the attributes of the saint (skull, chain and book) to which the hand is pointing.
The gestures of the painting therefore refer to the conductor and his work; they admonish the artist to modesty and discreetly remind him of his transience.
When Wolfgang Lettl, in 1972, replied to a small advertisement in the Süddeutsche Zeitung in which a building plot near Manfredonia was offered for sale, he certainly did not imagine that the period he would spend there with his wife Francesca from 1973 to 2005 , he would become one of the happiest in his life for him.
Here, in the years 1975-1995, not only the impressionistic paintings were born, but, starting from 1986 also many of his surrealistic paintings.
Wolfgang Lettl: "We bought a piece of land in Siponto, in the Gulf of Manfredonia, directly on the sea, because according to my old geographical atlas it rains less than anywhere else, and we built a house there. There was a lot of work to do in the garden, because, at first, there were only thistles and other thorny things. In the house the walls were still empty. So I took my portable easel and went outside, painting the landscape: houses, trees, mountains, clouds, ships and the sea. Doing it is fun and really tiring. "
The sculpture represents two people, each with its heavy sphere, to be carried upwards. They appear to be two Sisyphus. The myth of Sisyphus tells that in order to punish the sagacity of the man who had dared to challenge the gods, Zeus decided that Sisyphus should have pushed a boulder from the base to the top of a mountain. However, every time Sisyphus reached the top, the boulder rolled back to the base of the mountain and each time, and for eternity, Sisyphus would have to start his climb all over again and never succeed.
Albert Camus, in his essay The Myth of Sisyphus of 1942, saw in Sisyphus the personification of the absurdity of human life, which would leave suicide as the solution, even if the "physical" one does not solve the problem of meaning; but Camus concludes his philosophical thoughts by stating: "We must imagine Sisyphus happy and free while climbing the weight that rolls down." Here in the sculpture the Sisyphus has doubled, but they will never reach the top as the two characters get in the way of each other. But the absurdity is that they cannot understand the reason that prevents them from moving forward. We who can see the situation from far away, in an objective way, we know that if you bend your head under the heavy load you cannot see what the other is doing, as your gaze is directed only towards your own feet and you only feel that nothing is going on. that we are loved by a God and not condemned to make this commitment as Sisyphus. The sphere is the symbol of our earthly mission, it is the weight we bear every day with our ability and our will, this is important for us, for our life, for our mission. We work by supporting this sphere every day, in private life as well as in political life. But if the spheres become burdens, weights, as it would appear in this sculpture, they prevent us from seeing one another and do not allow us to get to the top, to then be happy and free as we climb the weight that rolls down, we need to rethink our mission, rectify our doctrines, overcome our selfishness. We must set apart the spheres to give our neighbor a hand, to help each other to arrive at the goal together and not to put obstacles and hindrances between each other.
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