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SECESSIONE ROMANA 1913-2013 Temi E Problemi See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/268811948 La vocazione internazionale della Secessione romana e la "Sala degli Impressionisti Francesi" del 1913. Gli artisti, le opere, la ricezione critica. Chapter · January 2013 DOI: 10.13140/2.1.5120.6724 CITATIONS READS 0 426 1 author: Matteo Piccioni Sapienza University of Rome 19 PUBLICATIONS 2 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Progetto Roma View project All content following this page was uploaded by Matteo Piccioni on 27 November 2014. The user has requested enhancement of the downloaded file. SECESSIONE ROMANA 1913-2013 Temi e problemi a cura di MANUEL CARRERA - JOLANDA NIGRO COVRE © BAGATTO LIBRI 2013 VIA PAVIA, 38 - 00161 ROMA ISBN Indice 7 Presentazione CONTRIBUTI DALLE ISTITUZIONI 11 MARIA VITTORIA MARINI CLARELLI, Arturo Martini alla Secessione romana 18 STEFANIA FREZZOTTI, Rodin e la scultura italiana al tempo della Secessione 27 MARIA CATALANO, La Galleria capitolina di arte moderna durante gli anni della Secessione. Uno sguardo alla scultura PRESENZE, INCONTRI, PROTAGONISTI 41 MANUEL CARRERA, Camillo Innocenti prima della Secessione. Incontri e scambi tra arte e letteratura 52 ILARIA SCHIAFFINI, I futuristi e la Secessione romana 65 JOLANDA NIGRO COVRE, Giacomo Balla: una “compenetrazione iridescente” alla Secessione 73 GIANCARLO BROCCA, Da Duilio Cambellotti a Angelo Zanelli: l’esperienza secessionista di Publio Morbiducci 82 PIER PAOLO PANCOTTO, Pasquarosa e le presenze femminili alle mostre della Secessione 93 LOREDANA FINICELLI, Continuità e discontinuità tra le mostre della Secessione e le Biennali romane. Dal “fenomeno” Pasquarosa al “caso” Spadini, paradigmi di un orientamento critico che cambia GRAFICA, ARTI APPLICATE, TENDENZE E TANGENZE 105 CLAUDIA MATERA, Novissima: il passaggio da rivista a casa editrice nella Roma liberty 112 EMANUELE BARDAZZI, Le sezioni di Bianco e Nero alla Secessione romana e altre vicende della grafica primo-novecentesca 137 EUGENIA QUERCI, La Prima Secessione e le arti decorative a Roma: presenze e orientamenti 150 MATTEO PICCIONI, La vocazione internazionale della Secessione romana e la “Sala degli Impressionisti Francesi” del 1913. Gli artisti, le opere e la ricezione critica 163 MANUEL BARRESE, La terza mostra della Secessione romana (1915). Aperture all’architettura e l’allestimento “viennese” di Marcello Piacentini 174 ROSALBA CILIONE, SIMONA PANDOLFI, Ricerche d’archivio a Roma: il progetto “Partage Plus Art Nouveau” 185 CAMILLA LUBRANI, La Secessione romana: un confronto sugli studi 188 BIBLIOGRAFIA 201 INDICE DEI NOMI Nei giorni 27 e 28 maggio 2013 si è tenuto un convegno in due giornate presso la Galleria Nazionale d’Arte Moderna e il Museo Laboratorio di Arte Contemporanea dell’Università “Sapienza” di Roma intitolato Secessione romana 1913-2013.Temi e pro- blemi. In seguito, il gruppo di studiosi che opera intorno al Dipartimento di Storia dell’Arte ed alle istituzioni museali coinvolte ha affrontato alcuni nodi problematici legati allo stesso soggetto, realizzando i saggi qui presentati. Un vivo ringraziamento va alle dott. Maria Giuseppina Di Monte e Liliana Spadaro per aver coordinato il convegno, nonché alla dott. Maria Onori per la sua collabora- zione; alla dott. Maria Vittoria Marini Clarelli, soprintendente, e al prof. Giuseppe Di Giacomo, direttore del MLAC, per la cortese ospitalità. Matteo Piccioni La vocazione internazionale della Secessione romana e la “Sala degli Impressionisti Francesi” del 1913. Gli artisti, le opere e la ricezione critica Il moto separatista che portò alla nascita della Secessione romana nel gen- naio del 1912 si fondava, come noto, sul binomio rinnovamento-internazionaliz- zazione: se da un lato si sentiva il bisogno di ringiovanire e riformare l’ormai sclerotica società degli Amatori e Cultori di Belle Arti, dall’altro si imponeva la necessità di doversi confrontare con quanto di più aggiornato si produceva in Europa 1,cercando di ottenere,allo stesso tempo,un ruolo meno periferico per Roma a livello internazionale, superata in tal senso da Venezia con la sua ormai storica rassegna biennale 2. Questo secondo aspetto rappresenta uno dei capi- toli peculiari dell’esperienza secessionista romana poiché permise, almeno per due anni e in anticipo sulle Biennali romane (1921-1925) 3, di fare della Capi- tale il centro di un dibattito critico e di una produzione artistica contempora- nea fondati sulla ricezione di alcuni episodi della cultura europea più avanzata. L’occasione di tale risveglio culturale si ebbe alla Prima Esposizione della Se- cessione romana del 1913, grazie alla Sala degli Impressionisti Francesi, frutto di quella vocazione internazionale che alimentava il nuovo sodalizio artistico ro- mano e che rendeva omaggio a uno dei due poli stranieri intorno ai quali ruo- tava il rinnovamento culturale della Capitale. Stando a quanto si evince dalle fonti,in principio anche l’arte mitteleuropea – l’altro punto di riferimento cul- turale dell’arte capitolina 4 – avrebbe dovuto avere una sala dedicata, destinata alla Secessione viennese.Tuttavia,gli austriaci,impossibilitati a essere presenti alla prima rassegna 5, fecero il loro debutto alle mostre della Secessione romana nel 1914 con Klimt, che espose il Ritratto di Mäda Primavesi (1912, New York,Me- tropolitan Museum of Art), e gli artisti della Bund Österreichischer Künstler 6. Saltata dunque l’ipotesi di una sala austriaca, gli sforzi per l’organizzazione della sezione internazionale si concentrarono sulla Francia, sotto la responsabi- La vocazione internazionale della Secessione romana lità del conte Enrico di San Martino e di Camillo Innocenti 7. Proprio que- st’ultimo si recò a Parigi nel novembre del 1912 con lo scopo di recuperare opere per la mostra, forte soprattutto dei rapporti maturati con la capitale fran- cese, sia come artista, sia come membro del comitato organizzativo dell’Espo- sizione Internazionale di Roma del 1911. Come il pittore rammenta nei ricordi autobiografici, il personaggio chiave nelle sue relazioni francesi in quel soggiorno fu lo scultore toscano Libero An- dreotti,suo vicino di studio all’Avenue des Ternes,residente a Parigi dal 1909 8. Innocenti frequentò, tra altri, anche Gabriele D’Annunzio e il côté mondano a lui legato,permettendogli di avere importanti prestiti stranieri connessi a un’arte elegante e compiacente, di derivazione whistleriana, molto vicini alla sua pro- duzione pittorica.Tra questi meritano menzione il dipinto di Jacques-Émile Blanche, Printemps, Jeune fille dans un jardin (1889, Dieppe, Château-Musée) e i ritratti della pittrice Romaine Brooks, in particolare quello celebre di D’An- nunzio (Le Poète en exil, 1912, Parigi, Centre Pompidou) e una Fanciulla in rosa (La Debutante,1910-11,Washington,The Smithsonian American Art Museum) che riscossero apprezzamento proprio per le armonie cromatiche,manifesto re- taggio del pittore inglese 9. Entrando però nel vivo dell’organizzazione della Sala degli Impressionisti Francesi, l’avvenimento centrale della vicenda fu il contatto di Innocenti con la Galleria Bernheim-Jeune,prestatrice delle opere,che ebbe come esito finale, nel marzo del 1913 ed esattamente in contemporanea con l’inaugurazione della prima esposizione della Secessione, la personale dello stesso pittore, forse come contropartita per i prestiti ottenuti 10. Si è letto il rapporto di Innocenti con la galleria, e non completamente a torto, come conseguenza dell’amicizia del pittore con Andreotti, che vi aveva esposto nel 1911 11, un anno prima della celeberrima mostra futurista. Non è da escludere,tuttavia,che,nella tessitura delle trame di contatti parigini di Innocenti, un ruolo non marginale, se non proprio Capitale, sia stato giocato da Vittorio Pica,grande amico del pittore,col quale aveva collaborato per le mo- stre straniere all’Esposizione del 1911. Proprio in quell’occasione Pica aveva ma- turato l’idea di una grande esposizione impressionista a Roma,nel padiglione fran- cese,esposizione – che,come noto,non fu realizzata per l’opposizione intransigente delle frange più conservatrici dell’arte francese 12 – a cui lavorava almeno dal 1909, come testimonia una sua lettera nell’Archivio Libero Andreotti a Pescia (PT) 13, evidentemente coadiuvato da Innocenti, col quale si recò a Parigi nel 1910, cir- costanza parimenti documentata nel medesimo archivio 14.Se i contatti con Du- rand-Ruel sono confermati dal primo dei documenti citati,è probabile che con- temporaneamente anche Bernheim-Jeune fosse chiamato in causa allo scopo di M. Piccioni reperire opere per la mancata mostra impressionista dell’’11. Del resto, va considerato che Pica aveva avuto contatti con i noti mercanti parigini, intorno al 1908, anche per la reda- zione del suo libro Gl’impressionisti francesi, in relazione alle foto dei di- pinti, quasi tutte provenienti dalle due gallerie. A questo va aggiunto 1. Sala degli Impressionisti francesi, da “Vita d’Arte”, che Pica era legato da amicizia con 1913. Opere di Renoir,Van Rysselberge, Man- Félix Fénéon, il celebre critico del guyn, Morrice, Matisse, Sisley. neo-impressionismo, dal 1909 diret- tore artistico della Bernheim-Jeune 15, e soprattutto con Gabriel Mourey – cri- tico sempre per la stessa galleria e redattore del saggio nel catalogo della mostra di Innocenti – per il quale Pica si era speso nella promozione delle opere in Ita- lia 16.Tuttavia, è da credere che il critico napoletano avesse avuto solo un
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