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Uncannily Real Italian of the 28 September 2018 – 13 January 2019 Opening: 27 September, 7 p.m.

Content 1. Press release 2. Biographies – a selection 3. Wall texts 4. General information 5. Catalogue 6. Press images 7. Fact sheet Museum Folkwang Press Release

Uncannily Real – a major special exhibition on Italian painting of the 1920s on display at Museum Folkwang from 28 September.

Essen, 27.9.2018 – The exhibition Uncannily Real: Italian Painting of the 1920s presents more than 80 from Realismo Magico. This artistic movement emerged in in the wake of the First World War, parallel to Neue Sachlichkeit in Germany. Outstanding works by key protagonists such as , Antonio Donghi and are featured alongside influential paintings by and . This represents the first comprehensive presentation of these works in Germany, allowing visitors to rediscover this strand of .

After the experiences of the First World War, in Europe and beyond, many artists returned to a realistic form of representation, definitively abandoning . Picking up on the of Giorgio de Chirico and Carlo Carrà and the rappel à l’ordre (call for a ) issued by Parisian Neo-, the artists cause time to stand still in their paintings. They imbue their realistic depictions with dream-like, uncanny, at times disturbing elements. The paintings depict their subject matter clearly and precisely, while retaining a cryptic quality to their atmospheres and themes. The result is the production of evocative works of outstanding painterly quality, often in dazzling colours. The catalyst for these developments was an interrogation of painting, such as or Masaccio, whose detailed, realistic depictions and perspectival provided them with inspiration.

The exhibition organises the presentation of the paintings into thematic rooms. The first room juxtaposes the architectural images of Carrà and de Chirico with those of Ubaldo Oppi and the significantly later painting La città deserta by Carlo Sbisà. There is a focus on portraits of women, which are all marked at once by a sense of pride and a mysterious beauty. This is as true of Casorati’s Cynthia as it is of Donghi’s Donna al Caffè. Intimate and familiar, domestic scenes are also a favoured subject of Realismo Magico. They depict children who look like miniature adults, indeed in Felice Casorati’s The Schoolchildren, they almost seem to resemble revenants. In addition to this, there are table scenes conveying atmospheres of sociality, but even more so, of alienation and loneliness. Another exhibition room is dedicated to masquerades. Time and again, the artists address the theme of painterly representation, or more precisely, of revelation and concealment, of the play of illusion, choosing harlequins, clowns and magicians as motifs. The recurring depictions of drapery and textiles suggest a similar line. In addition to nudes that have been drained of virtually all affection, replacing it with a sense of brutality and isolation – as, for example, in the contorted body of Cagnaccio di San Pietro’s spectacular painting Primo denaro – still lifes are a decisive genre for Realismo Magico.

These key genres are intimately related to the content of the images, and are also always reflective of the zeitgeist in Italy in the aftermath of the First World War in the 1920s and 1930s.

The nine thematic groupings illustrate that Realismo Magico in no way refers to a closed, self- contained group of artists. Nevertheless, for all the diversity of their individual approaches, they are united by a common mood. The concept of “Magischer Realismus”, coined by the art historian Franz Roh in 1925, describes a puzzling atmosphere in which things are held in abeyance: “with ‘magical’ as opposed to ‘mystical’, the aim is to suggest that the mystery does not enter the world being represented, but remains behind it.”

When Mussolini came to power in 1922, art began to evolve against the backdrop of a society marked by . It may have been due to the political situation of those years that these paintings, whose ambiguities all too often trigger uneasiness in the viewer, received relatively little attention in recent decades. The exhibition is accompanied by a historical overview of Italy, its artistic groupings and approaches, and by Italian posters from the era and by a film programme curated by film expert Olaf Möller.

Peter Gorschlüter: “I’m so pleased that this exhibition provides a glimpse into this era that for so long remained in the shadows of art historical research, enabling a new, comprehensive on the works, which have been gathered together from numerous institutional and private collections. In this respect, the academic symposium that will accompany the exhibition is an important component of our approach to considering this artistic style in a more comprehensive fashion.”

Uncannily Real Italian Painting of the 1920s 28 September 2018 – 13 January 2019 This exhibition has been made possible by the support of the NATIONAL-BANK AG and the Kulturstiftung Essen.

Admission fees: € 8 / € 5 Catalogue published by Hirmer: retail price € 39.90 / museum price: € 32

Press enquiries Anna Littmann, T +49 201 8845 160, [email protected] Press images can be downloaded at www.museum-folkwang.de

Biographies

Edita Broglio (1886 Smiltene – 1977 ) In the wake of the Russian Revolution, the family of Edita Walterowna von zur Mühlen were forced to flee Russia, and after a number of stops along the way, took up residence in Königsberg (today Kaliningrad), where Walterowna completed her studies at the academy of the arts. She spent the next two years continuing her studies independently in Paris, learning from the originals at the Louvre and engaging in dialogues with contemporary avant-garde artists, before settling in Rome in 1912. In 1913 and 1914, she exhibited her works at the Secessione Romana. In 1917, she met Mario Broglio, whom she married in 1927. She was involved in founding and editing the periodical , which ran from 1918 to 1921. Her artworks became increasingly influenced by Italian masters of the early . Together with the milieu of visual artists involved in the publication, in 1921 she exhibited seven works at the exhibition Primaverile Fiorentina. In 1930, the couple moved to Paris, where they continued to work together closely, both artistically and editorially.

Cagnaccio di San Pietro (1897 Desenzano del Garda – 1946 Venice) Natalino Bentivoglio Scarpa grew up in the village of San Pietro on the island of Pellestrina, on the edge of the Venetian Lagoon. As an expression of his connection to his homeland, the name of this village then became part of his pseudonym. After studying for a year at the Accademia di Belle Arti in Venice, he continued his training independently. His early work was heavily influenced by , and from the 1920s, his painting evolved towards a formal rigour and spatial density. He used objects and situations that characterised everyday life in Venice as the subject matter of his paintings. 1923 saw the beginning of prolific exhibiting: he twice had works in Ca’ Pesaro, and the following year, Cagnaccio made his debut at the . His 1928 submission After the Orgy, which together with Zoology and Money First formed part of a trilogy, triggered a scandal. His first solo exhibition ensured in 1929, in the Botteghe d’Arte in Venice. In the 1930s and ’40s, he participated in multiple Venice Biennales and in the Terza Quadriennale Romana. He died in 1946 at the age of 49 after a prolonged illness. Two years later, a retrospective was dedicated to his work at the Biennale.

Carlo Carrà (1881 Quargnento – 1966 ) Carrà moved to Milan in 1895 as an assistant painter, and moved to Paris in 1899, where he used his weekends to continue his education in museums and galleries. In 1906 he enrolled in the Accademia di Brera. He quickly became a fixture in artist circles, becoming involved in the Futurist movement, and co-signing the first Futurist Manifesto in 1909 alongside Filippo Tommaso Marinetti, , , and . In 1912, he accepted Severini’s invitation to show work in the exhibition Les Peintres Futuristes Italiens at the Galerie Bernheim-Jeune in Paris. Following the First World War, his focus shifted increasingly to the Italian painting of the Quattrocento. Together with Giorgio de Chirico and Filippo de Pisis, whom he met in a military hospital in , he developed a new formal language. He began to focus increasingly on his second profession as a writer, and through the publication of Pittura metafisica (1919), he provided the theoretical underpinnings of this movement. In 1922, Carlo Carrà participated in the Venice Biennale for the first time, and in 1924, his monograph on Giotto was published in the periodical Valori Plastici. In 1926, he accepted ’s invitation to take part in the Mostra del . In 1941, he became a professor at the Accademia di Brera. Four years before his death, a retrospective was dedicated to his oeuvre at the Palazzo Reale in Milan.

Giorgio de Chirico (1888 Volos – 1978 Rome) Born in Greece, de Chirico began studying painting at the Akademie der Bildenden Künste in in 1906 and graduated in 1909. Inspired by local painting and philosophical writing – in particular Weininger, Schopenhauer and Nietzsche – his early work addressed classical and mythological themes. In 1912 and 1913, his works were shown for the first time at the Salon d’Automne and the Salon des Indépendants in Paris. It was during these years that he developed key elements of his painting, such as arcade architecture, manikins and a pronounced use of one- point perspective, which formed the foundations of his pittura metafisica. In 1917 he met Carlo Carrà in a military hospital in Ferrara, who put him in contact with Mario Broglio. In 1918, the year in which Valori Plastici was founded, a monograph was published in the magazine about his work, and his first solo exhibition was held in Rome, at Casa d’arte Bragaglia. This led to numerous solo and group exhibitions, in Italy and especially in Paris. The Surrealists showed a great deal of interest in de Chirico’s early work.

Antonio Donghi (1897 Rome – 1963 Rome) Following his graduation from the Regio Instituto di Belle Arti in Rome, Donghi was drafted into military service. After the First World War, alongside his painting, he carried out studies in in museums in Rome, Florence and Venice. In 1922, he exhibited for the first time at the Esposizione della Società Amatori e Cultori di Belle Arti in Rome, followed by his first appearance at the Biennale a year later. In 1924, his work was presented in two solo exhibitions at Galleria Stuard and at Casa d’arte Bragaglia in Rome. In his formal clarity, precise composition and his gradated use of colour, Donghi takes cues from the values propounded in the periodical Valori Plastici. He also quickly attained international renown, including in Germany, where Franz Roh’s writing on his work led to an invitation to participate in the 1925 exhibition Neue Sachlichkeit in Mannheim. Donghi was invited to participate in the second Novecento exhibition in 1929 at the Palazzo delle Permanente, before taking part in the large-scale Novecento Italiano show in Buenos Aires the following year.

Giorgio Morandi (1890 Bologna – 1964 Bologna) During his studies at the Accademia di Belle Arti in Bologna, from 1907 to 1913, Morandi predominantly concerned himself with French Modernist art. His first appearances in group exhibitions came in 1914. In that year, for example, his work was shown at the Esposizione Libera Futurista at Galleria Spovieri, a sign of his brief Futurist phase, which was followed by an equally brief Cubist one. His study of the works of Giotto and his acquaintance with Carlo Carrà, Giorgio de Chirico and Mario Broglio led to another shift in his work. On the one hand, he began producing metaphysically inspired works, and on the other, he was presented with the opportunity to show in further exhibitions connected with Valori Plastici. His virtuosity in the technique of etching formed the focus of an exhibition at the Venice Biennale, and he received a professorship in copperplate technique at the Accademia di Belle Arti in Bologna in 1928, which he held until 1956. His prolific exhibition activity from the 1930s onwards bear testament to his national and international recognition. As early as 1939, the first monograph on his work appeared, and in 1948, a dedicated hall was established at the Biennale for him and Carlo Carrà.

Ubaldo Oppi (1889 Bologna – 1942 Vicenza) Defying the will of his father, who sent him on numerous trips in his early years to be trained as a businessman, Oppi developed a passion for . In 1907 he enrolled at the Academy of Fine Arts in Vienna, where he studied under . By 1910 he was already showing his first works in a solo exhibition at Ca’ Pesaro. Over the next two years, he showed work there again, and in 1914 at the Esposizione Internationale d’Arte della Secessione di Roma. However his early work was not merely Secessionist, but as a result of his stay in Paris from 1911 to 1914 – where he mixed in avant-garde circles and studied the Old Masters at the Louvre – it was also marked by Post-. After the war he returned to Italy and married Adele Leone in 1922, who then featured in many of his paintings as a model. A founding member of the Novecento group, his paintings were featured at their first exhibitions, although as early as 1924 he distanced himself from the group in a presentation of his work in a dedicated hall at the Biennale. His reputation continued to grow from 1926 to 1932, in part due to the attention of the art critic Franz Roh, and through his regular exhibiting, including presentations at the Venice Biennale. After moving to Vicenza in 1932, his oeuvre underwent a strict turn towards religious subject matter.

Wall texts

Uncannily Real After the First World War, artists turn to realistic approaches beyond Europe. With Realismo magico, an artistic movement develops in Italy that links objective depictions with mysterious atmospheres. One of its voices is the magazine Valori Plastici, in which from 1918 onward talk is of a ”ritorno all’ordine”. In Paris, the call for order (”rappel a l’ordre”) becomes pivotal for the trend of , while Neue Sachlichkeit () develops in Germany. Giorgio de Chirico and Carlo Carrà’s Pittura metafisica is pioneering for Realismo magico. Important is furthermore the orientation towards art of the past, above all the Early Renaissance and the simplicity of Giotto’s rigour, as well as the painting of . The painters once more join together the abandoned forms of Expressionism and Futurism. They produce intact depictions of pictorial subjects often taken from everyday life; simplify, stylise, and carefully elaborate the volumes and compositions; and occasionally use a bright colour palette. The works share an uncanny, at times melancholy or even abysmal atmosphere. Realismo magico was an artistic stance with individual stylistic developments. In the late 1920s, it increasingly merges into the Novecento Italiano movement, which was influenced by the fascist state and became active starting in 1923.

Uninhabited Buildings Giorgio de Chirico and Carlo Carrà officially founded Pittura metafisica in 1917. However, de Chirico began producing his elementary series of Piazze d’Italia as from 1910. Characteristic for these are the magic atmosphere and the wide squares with buildings devoid of people, as well as the long shadows before deeply set horizons. Like in many Realismo magico paintings, the impression of a timeless reality arises that may be embedded in the here and now but at the same time engenders the sense of a fundamental absence of any objects. A mysterious mood pervades the paintings; contradictory perspectives and messages heighten this impression, as do the seemingly uninhabited buildings.

Distant Gazes The painters place the sitters, cool and distant, before simplified backgrounds or provide views through open windows. The static figures essentially remain inaccessible; they present themselves in keeping with their social role. What is striking is the accurate, in part stylized depiction of the arrangements of the folds, whereby the artists reinterpret a further Old-Masterly tradition. The carefully draped fabrics deal with the theme of exposing and covering. In some pictures, such as Cagnaccio di San Pietro’s Red Hat or Felice Casorati’s Cynthia, the impression can arise that something crucial has been omitted, like a blank space.

Serious Games The painters portrayed children in very everyday moments. Yet, instead of the expected gaiety, their faces seem serious and static. The children gaze melancholically or absently into the distance. They remain frozen in their poses and seem to have been robbed of any light-heartedness. Like little adults, timeless, they seem almost out of place on the laps of their mothers, who have been stylized as Madonnas. Their toys are left unused – the red doll remains on Liliana’s lap, the little angler’s fishing rod without a catch, the tennis ball is not hit.

Everyday Theatre The artists lend everyday scenes the character of a performance. Curtains frame the painted situation and provide them with a stage-like presence. The Juggler intently performs his balancing act, the Card Players stare, mesmerized, at their hands of cards. The sophisticated compositions assign a place to each of the objects in the painting by means of precise mathematical calculation. One often cited visual world of Realismo magico is the Italian tradition of the Commedia dell’Arte. Hence, for example, the Pulcinella in the white shirt and black half mask and the Arlecchino dressed in the colourful diamond pattern create comical and at once tragic situations in the dichotomy of play and reality, a mood that is found again in the paintings.

Unsettling Nudes For all of their stylistic variance, the impression of isolation and forlornness heightens in the nude figures. Instead of sensuality, they sometimes radiate questioning, and other times sad vulnerability; their bodies in part seem like a shell put on display. The sexual experience that Felice Casorati and suggest with their reclining nudes does not seem very satisfying. Rather, what they allude to is what Cagnaccio di San Pietro searingly formulates with his painting First Pay: the woman with the bony, twisted body and closed eyes prostituted herself. The criticism of the social circumstances of the time is perhaps most explicitly expressed in these nude paintings.

Old-Masterly Rigour The artists repeatedly make reference to the pictorial formulae of the Early Renaissance and adapt it to their time. The figures gaze out of the paintings without any play of facial expressions; their outlines rigorously stand out before the monochrome backgrounds and cast sharp shadows. Different periods also coalesce in Gregorio Sciltian’s still lifes, in which drawings by encounter postcard motifs. Reflexes in the round lenses of the eyeglasses are reminiscent of the Netherlandish still life tradition and simultaneously refer to the spaces beyond the painting. High Italian culture is subtly communicated in the set pieces, which speak for an increasing national pride.

Barren Realities In these paintings, everyday life is depicted in all of its simplicity. The scenes follow the general return to traditions after the First World War. However, they hardly testify to conviviality, but rather to isolation; the two old women in Cagnaccio di San Pietro’s In the Evening (The Rosary) sit beside one another in silence. Daphne Maugham Casorati places shadows below the table in the centre of the picture and shifts the woman reading the newspaper to the edge. The domestic subjects as well as the depictions of labour indicate a latent lack of communication, perhaps even the futility of existence. The subjects ultimately elude unambiguous interpretation; rather, they open up a space between indissoluble tensions, between surface and abyss, between contemplation and loneliness, between humility and senselessness.

Mysterious Encounters The artists portray patrons, friends, and themselves in grand poses. They often use books as motifs whose contents remain unknown, and in doing so heighten the mysteriousness of the paintings. The frozen pose of the artist , who models for Carlo Sbisà in Magic, and her hands, imploringly extended upward, create a tense atmosphere. Among others, Fini, the artist, and Arturo Nathan, whom Sbisà portrays at the right in Astronomers, initiate the group. Its more objective and at the same time tradition-conscious orientation gives fresh impetus to the painting of Realismo magico from the late 1920s onwards. General information

Uncannily Real Italian Painting of the 1920s September 28, 2018 – January 13, 2019

Curator Anna Fricke

Research associate Antonina Krezdorn

Supporter/ Sponsor NATIONAL-BANK AG Kulturstiftung Essen

Exhibition space 800 m²

Number of rooms 10

Number of exhibits Paintings: 80

Lenders Bassano del Grappa, Musei Biblioteca Archivio Collezione Banca Monte dei Paschi di Siena Collezione Barilla, Parma, courtesy Galleria Torbandena, Trieste Collezione della Fondazione di Venezia Collezione Malcisi–Zaccarelli Collezione Paola Giovanardi Rossi, Bologna Collezione particolare, La Spezia Collezione privata, courtesy Ed Gallery Piacenza Collezione privata di Marco Sofianopulo Collezione privata, courtesy Galleria dello Studio, Verona Collezione Vaccari-Susmel (Ferrara-Italia) ERPAC-Musei Provinciali di Gorizia Fondazione Carlo Levi, Roma, courtesy Collection Farnesina Fondazione di Studi di Storia dell'Arte Roberto Longhi Fondazione Il Vittoriale degli Italiani, Gardone Riviera (BS) Fondazione Musei Civici di Venezia, Galleria Internazionale d’Arte Moderna di Ca' Pesaro Foundation Mattioli-Rossi, Svizzera

Galleria civica di arte moderna, Palazzo dei Diamanti, Ferrara Galleria d’arte moderna “Empedocle Restivo" Galleria d'arte moderna, Roma Galleria degli Galleria Nazionale d'Arte Moderna Roma Kröller-Müller Museum, Otterlo Mart, Museo di arte moderna e contemporanea di Trento e Rovereto collezione VAF-Stiftung, collezione L.F. e Provincia autonoma di Trento-Soprintendenza per i beni culturali Mumok – Museum moderner Kunst Stiftung Ludwig Wien Museo Civico Ala Ponzone – Cremona Museo d'arte della Svizzera italiana, Lugano. Collezione Città di Lugano. Donazione Chiattone Museo del Paesaggio Verbania Museo Revoltella – Galleria d'Arte Moderna, Trieste Unicredit Art Collection Wolfsoniana – Palazzo Ducale Fondazione per la Cultura, Genova Private collections from Milan, Rome, , Trieste, Verona and others.

Catalogue A catalogue in German language is published by Hirmer Verlag. Museum Folkwang (Ed.): Unheimlich real. Italienische Malerei der 1920er Jahre, Munich 2018 199 pages ISBN: 978-3-7774-3089-8 Retail price: € 39,99 / museum price: € 32

Project coordination 24 Ore Cultura

Cooperation Mart – Museo di arte moderna e contemporanea di Trento e Rovereto Ateneum Art Museum, Helsinki

Admission fees Standard: € 8 Concessions*: € 5 Family ticket I*: € 16,50 Family ticket II*: € 8,50 Members of Kunstring Folkwang e.V. pay € 5,00. Booked exhibition talks and workshops for students: € 0,50 (*Please refer to our website for details on concessions.)

Opening hours Daily 10 a.m. to 6 p.m. Thur, Fri 10 a.m. to 8 p.m. Holidays 10 a.m. to 6 p.m. Mon closed

Special openings during the exhibition Open: Day of German Unity (3.10.), All Saints‘ Day (1.11.), Totensonntag (25.11.), Boxing Day (26.12.), New Year’s Day (1.1.)

Programme The exhibition at the Museum Folkwang is accompanied by an extensive programme of events and education for children, youths, adults, families, and school classes. The events calendar can be viewed in the program flyer or at www.museum-folkwang.de

Visitor office / tour bookings T +49 201 88 45 444 [email protected] Museumsplatz 1, 45128 Essen

Getting there Public transport connections from Essen Central Railway Station (Hbf) / Underground lines Take 107, 108, and U11 in the direction of Bredeney/Messe Gruga and alight at Rüttenscheider Stern. From here there are signs directing you to Museum Folkwang (approx. 7 min. walk)

Walking via the Kulturpfad 15 min walk from the south exit of the Essen Central Railway Station (follow the signs and then the luminous blue glass blocks set in the ground)

Car navigation systems: Bismarckstraße 60, 45128 Essen

(Subject to change) Catalogue

Unheimlich real Italienische Malerei der 1920er Jahre

Published by Museum Folkwang

With articles by Gabriella Belli, Anna Fricke, Peter Gorschlüter, Kenneth E. Silver, Valerio Terraroli

199 pages and approx. 113 colour illustrations

Hirmer Verlag GmbH Munich 2018 ISBN 978-3-7774-3089-8 (German)

September 2018

Retail price: € 39,90 Museum price: € 32

Press images

The imagery may only be used in the context of reporting on the presentation Uncannily Real. Italian Painting of the 1920s (28 September 2018 – 13 January 2019). No work may be cut nor altered in any way. Online publication: max. 72 dpi, 20 cm x 20 cm.

Ubaldo Oppi Ritratto della moglie sullo sfondo di Venezia, 1921 The Artist's Wife with Venice in the Background Oil on canvas, 120 x 100 cm Private collection, Rome © Carlo Baroni, Rovereto

Giorgio de Chirico Piazza d’Italia (Souvenir d’Italie), 1924-25 Italian Square (Souvenir from Italy) Oil on canvas, 60 x 73 cm Rovereto, MART-Museo di arte moderna e contemporanea di Trento e Rovereto © MART-Archivio Fotografico e Mediateca © VG Bild-Kunst, Bonn 2018

Cagnaccio di San Pietro Natura morta con panno azzuro, 1923 Still Life with Blue Cloth Oil on canvas, 24,5 x 33,5 cm Collezione Malcisi-Zaccarelli

Antonio Donghi Donna al caffè, 1931 Woman at the Café Oil on canvas, 80 x 60 cm Fondazione Musei Civici di Venezia, Galleria Internazionale d‘Arte Moderna di Ca‘ Pesaro © Archivio Fotografico – Fondazione Musei Civici di Venezia Photo: Franzini C.

Daphne Maugham Casorati La colazione, 1929 The Breakfast Oil on canvas, 121 x 100 cm Private collection © Artifigurative di Alberto Rodella, Crespellano (BO)

Antonio Donghi Il Giocoliere, 1936 The Jugglers Oil on canvas, 116 x 86,5 x 3 cm Private collection

Cesare Sofianopulo Maschere, 1930 Masquerade Oil on canvas, 77,5 x 103 cm Museo Revoltella © Nicola Eccher

Carlo Carrà Vasi sul davanzale, 1923 Vases on the Windowsill Oil on canvas, 52 x 67 cm Private collection Courtesy Galleria dello Scudo, Verona © VG Bild-Kunst, Bonn 2018

Press contact Museum Folkwang Anna Littmann, T +49 201 8845 160, [email protected] Press images Download at www.museum-folkwang.de Factsheet

Direction

Director: Peter Gorschlüter

Architecture and Facilities

Old building: Designed by Werner Kreutzberger, Erich Hösterey and Horst Loy, opened in 1960

New building: Designed by David Chipperfield Architects, opened in 2010

Total exhibition space (incl. the old building): c. 6,200 sqm

Exhibition Hall 1: 1,400 sqm

Exhibition Hall 2: 870 sqm

Collection

Painting, , Media Art 19th, 20th and 21st century: c. 900 paintings, 320 , 150 videos

Department of Prints and Drawings: 12,000 drawings and prints

Department of Photography: c. 65,000 photographs

Archaeology, Global Art and Applied Arts: c. 1,800 objects

German Poster Museum: c. 350,000 posters