www.museodelnovecento.org THE COLLECTION DYNAMISM AND ELASTICITY The Museo del Novecento hosts a selection walkway then leads us on from the Arengario th_ The Permanent Mission of Italy Mayor Museo del Novecento and of some artworks from 20 century Milanese building to the Palazzo Reale. Here we find two 100 to the United Nations GIUSEPPE SALA Galleria d’Arte Moderna collection. The Museum is also the venue artistic tendencies of the following decades: DYNAMISM AND ELASTICITY Scientific Coordination for exhibitions and Focus events dedicated firstly the T Group, whose focus was an optical (1882-1916) UMBERTO BOCCIONI 100 Culture Councillor CLAUDIO A.M. SALSI to collections in the archives or to recent perception of light and movement, followed by (1882–1916) FILIPPO DEL CORNO acquisitions. the Milanese Analytical Painting school of the UN Headquarters, New York United Nations, New York Executive Chief The exhibition path proceeds in chronological 1970’s and a room with new figurative modes, 3rd – 7th October 2016 Head of Central Directorate for MARINA LAMPUGNANI order, beginning with the Fourth Estate by such as the Roman Pop . 3rd – 7th October 2016 Culture Giuseppe Pellizza da Volpedo, followed by Rounding off our visit are a number of Arte Cultural diplomacy project by GIULIA AMATO Administrative and exponents of the international avant-garde Povera installations and a monographic room FEDERICA OLIVARES Organizational Coordination movements of the early twentieth century, with dedicated to Luciano Fabro. Press Office ANNA MARIA BAGARINI Umberto Boccioni, and a rich core of Futurists. The final section hosts a collection donated to ELENA CONENNA Installation Curator The exhibits cover the most important Comune di Milano in 1973, Collezione Marino BARBARA SUHR DESIGN DANKA GIACON movements and currents of 20th-century Marini. italian art.Two monographic spaces are given Special thanks to Head of Communication over to and his still lifes, MICAELA MARTEGANI CLEMENTINA RIZZI a major anthological show of Giorgio de Cover. Elasticità / Elasticity, 1912, oil on canvas, cm 100 x 100. Chirico’s works of the 1930’s and 1940’s, and , Museo del Novecento, Jucker Collection n. 8728 Graphic Design Registrar 1. Dinamismo di un corpo umano / Dynamism of a Human then the sculptures by Arturo Martini. Body, 1913, oil on canvas, cm 100 x 100. Milan, Museo del ALESSANDRA RICOTTI IGNAZIO AMURO The inter-war arts scene is represented by Novecento, GAM n. 5164 2. Studio per Forme umane in movimento (Dinamismo di un the Novecento Group, the monumental art Transports corpo umano) / Study for Human forms in movement and abstractionism of the 1930’s, with a large (Dynamism of a human body), 1913, black ink on paper, 309 x ARTERIA 212 mm. Milan, Civico Gabinetto dei Disegni del Castello number of plaster works by Fausto Melotti, and Sforzesco, inv. 835 B 319 the works of Atanasio Soldati, Manlio Rho and 3. Cavallo + cavaliere + case / Horse + rider + houses, 1914, Mario Radice. black pencil, black and blue watercolor on paper, 393 x 563 mm. Milan, Civico Gabinetto dei Disegni del , inv. The spectacular Fontana’s room overlooking 842 C 88 Piazza del Duomo, provides a focus for the 4. Voglio fissare le forme umane in movimento (Dinamismo di un corpo umano) / Study for Human forms in movement entire itinerary. Here we find Fontana’s works, (Dynamism of a human body), 1913, black ink on paper, 309 x Neon structure for the IX Triennale in Milan, 212 mm. Milan, Civico Gabinetto dei Disegni del Castello Superintendent of the Sforza Coordination General Director Sforzesco, inv. 835 B 319 Spatial Ceiling and a series of Spatial Concepts. Castle, Archeological and CARLOTTA BRANZANTI ANTONIO CAMPO DALL’ORTO 5. Studio per Forme umane in movimento (Dinamismo di un We then have the Informal painting school of the corpo umano; Muscoli in velocità) / Study for Human forms in Historical Museums ROBERTO CASSETTA motion (Dynamism of a human body; Muscles at speed), 1913, CLAUDIO A.M. SALSI with ROSA FASAN Director of Staff General Director 1950’s and 1960’s, with a small space given over black ink on paper, 311 x 209 mm. Milan, Civico Gabinetto dei GUIDO ROSSI to Piero Manzoni and Azimuth. A suspended Disegni del Castello Sforzesco, inv. 858 C 104 Curator Press Office FRANCESCA ROSSI MONICA BROGNOLI Director Communication and ILARIA MAGGI External, Institutional and Secretarial Office and Accounts International Relations MUSEO DEL NOVECENTO www.museodelnovecento.org via Marconi 1, Milano Facebook: MuseodelNovecento LUCIA BARATTI GIOVANNI PARAPINI Tel. +39 02 88444061 Twitter: #museodel900 CINZIA CONSONNI [email protected] Instagram: museodel900 Director Quality and Planning LUIGI ROCCHI Sponsor Main sponsor 2 dynamism and elasticity – umberto boccioni 100 (1882-1916) 3 3rd – 7th october 2016 4 dynamism and elasticity – umberto boccioni 100 (1882-1916)

DYNAMISM AND Dynamisms are the result of the artist’s UMBERTO BOCCIONI collectors set new values for 20th century ELASTICITY exploration around the representation of a body Italian art through their focused purchases. UMBERTO BOCCIONI 100 in movement and of a man running. Boccioni From the time of his first encounter with was recognized as a major (1882-1916) produced several drawings on this theme, Filippo Tommaso Marinetti in 1910, Boccioni European avant-garde movement by critics, which disclose a talented technical and pictorial was the main artist of Futurism. and not simply as a cultural season linked Futurism, the crucial avant-garde movement composition technique, as well as canvases The outstanding selection of Boccioni’s with fascist ideology. for art history on the international scale, that explode with strength and power, where artwork, both as to number and quality, Above all, it is Boccioni’s creative vision that pivoted around the themes of modernity and the concepts of speed and dynamism find full conserved in the City of Milan’s collections stands as a unique case in art. His innovation, a distinctive sign of Italy today expression. It is the dynamism of a modern testifies to the privileged bond that linked exploration, characterized by sudden as well as in the past. Umberto Boccioni, a society, which is able to seize contemporary the artist to this city. changes and qualitative oscillations, leading figure of the Futurist movement, is the experiences. It is the speed embodied by the Born in Reggio Calabria, Boccioni lived in demonstrates the courage and vitality of a ideal testimony to the strength of innovation avant-garde Futurist movement, which is still Milan from 1908 to 1916, the year of his young Italian artist engaged in aligning the that has embodied and still embodies perceived today with an eye keen on present 1 premature death. Here he discovered the art of his country to the most advanced of Italian spirit. days and longing for the future. themes of the modern city, sizing its cultural international stances. Boccioni rewrote the gap compared with other European capitals, tradition of the Divisionist portrait through The invaluable works of art that have been Elasticity – the title of the first painting – and urging it optimistically toward action the revolutionary lessons taught by Giacomo selected to be displayed as attestation of is represented by the powerful muscular and an aggressive nationalism. Balla. He tried to offer an alternative to the Italy’s presence at the Headquarters of movements of the horse, the protagonist While in Milan, he made the most important international flavour of the Biennali the United Nations in New York City, on of the scene. The energy gushing from the encounter of his artistic experience when he exhibitions of the early 1900’s, with the the occasion of the Election of Italy to the canvas reflects Italian attitude of being 2 made acquaintance with Marinetti. Here he unfurled expression of his first version of UN Security Council, represent one of the present with its tireless and vital energy on held his first scandal-exhibition, at the Stati d’animo [States of Mind]. He drew highest peaks of Italian artistic production. the international scenario. In the background, Esposizione d’Arte Libera [Exhibition of Free inspiration from French cubism in his Studio The exhibition entitled Dinanismi ed Elasticità we see the skyline of a city in continuous 3 Art] in the Spring of 1911, which gathered di figura femminile (Studio di donna fra case) (Dynamism and Elasticity) gathers works growth and expansion, reaching out for both young and amateur Futurist painters. [Study of Female Figure, or Woman Among coming from the Museo del Novecento’s modernity, exactly like the City of Milan after Here he found his first supporters and clients. Homes] from 1911. He then detached from permanent collections in Milan, the its international experience with . After his death in December 1916, the City of the cold conceptuality developed in those international benchmark for 20th century Milan paid him tribute with a retrospective years by Braque and Picasso. And, eventually, Italian art, and from the prestigious archives Completing the exhibition is a video exhibition in Palazzo Cova. Concurrently, the between 1914 and 1916, he went back to of the Gabinetto dei Disegni of the Castello entitled Umberto Boccioni. L’ansia del nuovo City of Milan’s Art Collections were the first Cézanne’s solid technique and even to the Sforzesco. The exhibition focuses on two (Umberto Boccioni; Eagerness for the public institution to acquire his works. It was brutal inelegance of Picasso’s early Cubist fundamental themes approached by the artist: Future) produced with 4K HDR technology the courageousness of private collectors from artwork without ever sliding into the trap of dynamism/speed and energy/elasticity. The by RAI Direzione Qualità e Pianificazione Milan, though, that crowned Boccioni as the a marked decorative style. choice for these themes stems from recent (Italian public broadcasting company) and Futurist artist par excellence. Ausonio studies conducted for the “Boccioni 100” commented by Ester Coen. This innovative Canavese’s collection, donated to the City of event, displayed at Palazzo Reale in Milan technology – where RAI is at the state of the 5 Milan in 1934, testifies to the special until last August. This exhibition for the art – ensures the viewer a total immersion attention paid by philanthropists to ‘difficult’ first time underlined the strong ties uniting into the work of art thanks to exceptionally works, appreciated as the revolution that paintings and drawings produced by the high resolution and extremely natural and 4 changed the course of modern painting in Futurist Master. faithful colors. Italy. After World War II, private Milanese