DOCSLIB.ORG

178-193 Cristallini ING ALE Ok Capitolo 1 Ita-Ing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
178-193 Cristallini ING ALE Ok Capitolo 1 Ita-Ing 178 DE CHIRICO’S DISREGARDED E42 INVITATION PUBLISHED AND UNPUBLISHED DOCUMENTS Elisabetta Cristallini It was 1 August 1940 when Oppo, vice-chairman of the Rome World’s Fair Agency, sent de Chirico a letter inviting him to take part in a competition “limited to only ten artists” for “a mosaic decoration for Palazzo dei Ricevimenti e Congressi”1. Oppo, chief organiser of all the decorations to be created for E42 quarter (a project he’d been working on since 1936), also headed the commission for the decoration of Palazzo dei Congressi, with Piacentini, Severini, Amato, Carena, Ferrazzi, Vagnetti and Adalberto Libera.2 The 1940 competition for the decoration of the great central hall was actually the second one taking place, as the first, announced through the interprovincial headquarters to all artists enrolled in the fascist Union, had turned out null and void. As Oppo specified in his letter to de Chirico, “this attempt failed to obtain results in line with the Agency’s expectations”. In effect, although around 50 sketches were submitted for the first competition, publicised on 10 December 1939, it was at once clear to Oppo that no real artists had taken part, in spite of the fact that he had sent personal invitations to the biggest names. This lack of participation had seemed even more seri- ous because it regarded the decoration of the building that was symbol of the entire E42 project for the World’s Fair to be held in Rome in the new quarter near Three Fountains Abbey to celebrate the 20th anniversary of the March on Rome as a new secular jubilee. Moreover, it dealt with the very heart of the building, which, with its square-plan layout, intended to function as a grand central reception hall. In Libera’s view, the mosaic (3,200 sq. m.) would strengthen the solidity of the “quadrangular ring” and supply it “with material and psychological reality, a value of absolute and unsurpassable limit”3. As if suspended in the void (there were no walls up to a height of 9 metres but only a com- plex of pillars, loggias and stairways), the mosaic was to appear like a gilded diaphragm, illuminated by the large windows at the base of the intersecting vault dome, with evocative effects of spatial expansion. Hence the centrality of the decoration and Oppo’s absolute need for true artists to com- 1 The letter is held in Rome’s Central State Archives, Esposizione Universale di Roma 1942, b. 924, file 8346; like the other archive documents repro- duced in this essay, it is published by permission of the Ministry for Cultural Heritage and Activities, authorisation ACS, N° 1151/2013. Previously unpublished, the letter was discovered by E. Cristallini and S. Lux during research on Palazzo dei Ricevimenti and Congressi and is cited in: S. Lux, Il concorso per “la decorazione in mosaico nel Salone del Palazzo dei Ricevimenti e Congressi”, in M. Calvesi, E. Guidoni, S. Lux , E42 Utopia e scenario del regime, Marsilio, Venice 1987; E. Cristallini, Il concorso per il mosaico, in G. Muratore, S. Lux, Palazzo dei Congressi, Editalia, Rome 1990; L. Montevecchi, Fonti documentarie inedite, relative a Giorgio de Chirico, conservate presso l’Archivio Centrale dello Stato, in C. Crescentini, G. de Chirico Nulla sine tragoedia gloria, Atti del convegno europeo di studi, Artout-Maschietto, Florence 2002. 2 Piacentini, head of E42 architecture, Severini, representative of the Ministry of National Education, Amato, representative of the fascist National Fine Arts Union, Carena and Ferrazzi, representatives of the Italian Royal Academy, Vagnetti as painter, and Libera as architect-designer of the palazzo. 3 A. Libera, I mosaici del Palazzo dei Ricevimenti all’Esposizione Universale, in “Civiltà”, n. 5, April 1941, p.11. METAPHYSICAL ART 2013|N° 11/13 ELISABETTA CRISTALLINI: DE CHIRICO’S DISREGARDED E42 INVITATION – PUBLISHED AND UNPUBLISHED DOCUMENTS 179 pete, countering the populist pressure of the union and its national commissioner, the powerful and authoritarian Antonio Maraini who was also general secretary of the Venice Biennale. For the second competition, this time by invitation only, Oppo made direct contact with de Chirico, Alberto Salietti, Massimo Campigli, Achille Funi, Felice Casorati, Aldo Salvadori and Fausto Pirandello, the only “Roman”.4 The presence of de Chirico and Campigli would certainly guarantee the international scope of the competition. More than ten years earlier both had been part of the “Italiens de Paris” group, open to avant-garde research and far from any autarchic sentiment whatever, notwithstanding the group’s art critic Waldemar George, who instead wanted to distinguish Italian art from French art in the name of a vaguely defined Mediterranean character, quite close to what Sarfatti claimed for her Novecento artists.5 De Chirico’s involvement would not only give the E42 a transatlantic touch as at that time he was the best known Italian artist in America, where he had held numerous exhibitions in and lived for 16 months from August 1936 on.6 Although American critics had subscribed to Breton’s censure of his post-metaphysical production at the time7, de Chirico had found two excel- lent patrons: millionaire Albert C. Barnes and Julien Levy, who had a gallery on Madison Avenue (and was also Campigli’s dealer). In December of that year de Chirico exhibited in the collective show of Italian art held in Countess Mimì Pecci Blunt’s Cometa Art Gallery, enthusiastically support- ed by Oppo as it put forward an exhibition line to his liking, with quality works free from all condi- tioning, especially that of the unions.8 Prior to the fateful 10 June 1940, when Italy declared war on France and Great Britain (a “stab in the back” from a neighbour as Roosevelt put it), de Chirico’s works had also been selected for other exhibitions of Italian art in America, such as the itinerant show curated by Dario Sabatello (and a committee headed by Galeazzo Ciano), Exhibition of Contemporary Italian Paintings9, an initiative that came under a broader project to promote Italian culture abroad with the purpose of pragmatic political-cultural propaganda. By backing exhibitions without rhetorical connotations the intention was to arouse a positive idea of fascist Italy among the American public.10 Meanwhile Oppo had set 4 The invitation to take part in the second competition was also extended to five artists or groups of artists who had “distinguished themselves” in the first competition: Capizzano-Gentilini-Guerrini-Quaroni, Fioresi, Predonzani, Fornasetti-Maiocchi-Ponti and Cascella. The commission for the mosaic went to the first group but the onslaught of historical events meant that it was never created. 5 See Les Italiens de Paris. De Chirico e gli altri a Parigi nel 1930, catalogue of the exhibition curated by M. Fagiolo dell’Arco, Skira, Milan 1998. From 1927 de Chirico appeared in Italian Novecento exhibitions, especially abroad (Leipzig, Geneva, Zurich, Hamburg, Amsterdam, The Hague, Berlin etc.). 6 On the 16 months spent in New York, see M. Fagiolo dell’Arco, Giorgio de Chirico: gli anni Trenta, Skira, Milan 1995, pp. 247-267; E. Braun, Giorgio de Chirico and America, Allemandi, Milan 1996; K. Robinson, Giorgio de Chirico – Julien Levy. Artist and Art Dealer: Shared Experience, in “Metafisica. Quaderni della Fondazione Giorgio e Isa de Chirico” n. 7/8, 2008, pp. 326-356; and de Chirico’s poetic and visionary texts: J’ai été à New York, “XXe Siècle”, 1 March 1938, and Metafisica dell’America, in “Omnibus”, 8 October 1938, both now in Giorgio de Chirico, Scritti/1 (1911-1945), Romanzi e Scritti critici e teorici, edited by A. Cortellessa, Bompiani, Milan 2008, pp. 853-855 and pp. 858-868. 7 In 1936 de Chirico showed works dating earlier than 1919 in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at MoMA, curated by Alfred H. Barr Jr. who, in an evolutionistic vision of art history, placed de Chirico as an artist who went beyond cubism and abstractionism to open the way to surrealism. Other exhibitions curated by Barr Jr. took the same critical stance: A Brief Survey of Modern Painting (MoMA, 1932) and Art in Our Time (MoMA, 1939), as well as the solo show Pierre Matisse held in 1935 and James T. Soby’s texts, After Picasso (Dodd, Mead & Co, New York, 1935) and The Early Chirico (1941), the first monograph on de Chirico to be published in America. 8 Oppo frequented Mimì Pecci Blunt’s salon in Rome, together with Bottai and influential members of the political hierarchy such as Dino Alfieri and Galeazzo Ciano. On the occasion of the inauguration of Cometa’s New York branch Cagli, who was co-director of the Rome gallery with Libero de Libero, came from Italy, bringing de Chirico the proofs of the Italian translation of Hebdomeros which was to be published by Cometa. 9 The exhibition, with recent works by de Chirico, opened in January 1935 in San Francisco, continuing to Los Angeles and then to Oregon, Seattle and Washington before reaching New York in March 1936. 10 See. S. Cortesini, Arte contemporanea italiana e propaganda fascista negli Stati Uniti di Franklin D. Roosevelt, Pioda Imaging, Rome 2012. METAPHYSICAL ART 2013|N° 11/13 180 ELISABETTA CRISTALLINI: DE CHIRICO’S DISREGARDED E42 INVITATION – PUBLISHED AND UNPUBLISHED DOCUMENTS in motion a strategy for bringing home the Paris “exiles” (including de Chirico who before and after his stay in America continued to divide his time between Italy and France), in particular through the Rome Quadrennial, the great show which, with Mussolini’s approval, he devised and directed as general secretary and which cast a shadow on the Venice Biennale.
Load more

Recommended publications
  • Bisazza Collezione Fornasetti
    PRESS RELEASE MILANO DESIGN CITY 28 September - 10 October 2020 BISAZZA COLLEZIONE FORNASETTI A mosaic collection born from the collaboration with Fornasetti During MILANO DESIGN CITY, in the via Solferino 22 flagship store, BISAZZA will present COLLEZIONE FORNASETTI, a mosaic collection born from the interpretation of the creative language of Fornasetti, the Milanese Atelier internationally renowned for its unique decorative style. This meeting of the minds between two Italian design masters produced four mosaic patterns that, taken apart and reassembled, explore new surfaces, lavish proportions, and remarkable reflections of light. Thanks to the painstaking, faithful efforts of the Fornasetti and Bisazza ateliers, the unique Fornasetti touch is re- established and enhanced by the brilliance and transparency of the glass mosaic tiles and the exquisite blending of sixty shades of colour. The timeless works acquire powerful cultural significance by virtue of the like- minded identities of the two brands, both known for their artistic and artisan content-rich collections. For the first time in large format, the Ortensia, Bocca, Serratura and Soli a Capri patterns make a spectacular statement in any living space, transforming it into a rarefied, sophisticated setting with bold personality. The Bisazza mosaic decorations reproduce some of the most iconic Fornasetti images: the mouth, the hypnotic gaze seen through a keyhole, the enigmatic face of Piero Fornasetti’s muse, opera singer Lina Cavalieri who, in the Ortensia pattern, seems to peer meekly from an explosion of pink and blue petals. The sun is another star in this collection. In Soli a Capri, a compilation of brilliant suns whimsically portrays the face of Piero Fornasetti, lighting up a background in shades of blue or grey.
    [Show full text]
  • Massimo Campigli - Biography
    Culture and Arts: Bridges to Solidarity (CABS) Project Number: 2019-1-DE02-KA204-006113 Project Number: 2019-1-DE02-KA204-006113 Activity: Evolution of Arts in Europe – Massimo Campigli - Biography Author Volkshochschule Olching e.V. – Hélène Sajons Name: Massimo Campigli Born in Berlin/Germany under the name of Max Ihlenfeldt on July 4th, 1895 Died on the 31st of May 1971 (aged 75) in Saint- Tropez, France Nationality: Italian Profession: Painter and journalist Art Movement: Expressionism and Fauvism 1 Massimo Campigli was an Italian journalist and painter. He was born as Max Ihlenfeldt in Berlin but his mother moved to Florence where he spent his childhood. In 1909 they moved to Milan where Campigli started later to work for the “Letteratura magazine” as journalist. He used to frequent avant-garde circles and met Umberto Boccioni and Carlo Carrà who were leading figures of the Futurism movement in Italy. Deported to Hungary, Campigli was a prisoner of war from 1916–18. After the war (1919) he went to Paris where he was foreign correspondent for the “Corriere della Sera”. It was there that he started to paint and became in 1926 a member of the "Paris Italians", a group of artists including e.g. de Chirico, de Pisis, Renato Paresce, Savinio, Severini and Mario Tozzi. Frequent visits to Le Louvre deepened Campigli's interest in ancient Egyptian art, which became a lasting source of his own paintings. The Etruscan collection that he discovered at the National Etruscan Museum in Rome, had also an important influence on his art. In his first figurative works Campigli made use of geometrical designs to represent human figures; in these paintings the influence of Pablo Picasso and Fernand Léger is easily recognizable.
    [Show full text]
  • Rare Artists' Books with Etchings Lithographs and Pochoirs, Signed
    Rare Artists’ Books with etchings lithographs and pochoirs, signed and limited editions, by: Braque, Chagall, Dali, Gauguin, Leger, Manet, Matisse, Miro’, Picasso, Renoir, and others Masters Etchings and Lithographs by: Chagall, Picasso, and Renoir. THE RED FINCH Reston Auction House is a new branch of the well- established MARNINART Rare Art Books & Modern and Contemporary Art. Since 2000 Marninart has operated on the market of rare books and contemporary art, accomplishing a worldwide clientele that includes Collectors, Museums, and Art Galleries. Marninart is recognized as one of the most specialized libraries for Illustrated Art Books of Picasso, Chagall, Matisse, and the Impressionists, and is a member of two prestigious worldwide bookseller’s associations specializing in rare books: ABAA Antiquarian Booksellers Association of America, and ILAB the International League of Antiquarian Booksellers. The latest trend for online art dealers and booksellers has evolved into online auctions, in order to reach a larger audience and visibility in the surreal internet world. Marninart is ready to begin this new adventure in the online auction market with great excitement and enthusiasm, presenting THE RED FINCH Reston Auction House as result of its expertise, knowledge and reliability. Visit Marninart @ www.marninart.net to learn more about us Our Goal is to provide the same dedicated costumer service, maintaining a real relationship with our clientele, buyers or consignors, in the wish of giving an enjoyable experience through our auction service. 1 Francis Bacon. Derriere le Miroir 162 - Francis Bacon Deluxe Edition. Michel Lereis, David Sylvester Maeght, Paris 1966 – Deluxe edition of Derriere le Miroir # 162 dedicated to Francis Bacon.
    [Show full text]
  • Piero Fornasetti One Hundred Years
    Piero Fornasetti One Hundred Years on show from 9th May to 15th June 2014 Monday to Sunday 11.00 a.m. to 8.00 p.m. at 10 Corso Como Seoul 3F Piero Fornasetti Piero Fornasetti was a Milanese painter, sculptor, interior decorator, engraver of books and a creator of more than 13,000 products. In terms of variety of decoration, Fornasetti’s production of objects and furniture is one of the largest of the 20th century. Fornasetti is celebrated as being among the most original creative talents of the twentieth century. During his career he created a visual vocabulary that is instantly recognizable and unceasingly engaging. Fornasetti designed a magical world, saturated in image and colour and filled with whimsy and wit. Biography • 1913 Piero Fornasetti is born in Milan, Italy. • 1930 Piero entered Brera Academy to study drawing. • 1932 Expelled from Brera for insubordination. • 1933 First artwork shown as part of a student exhibition at Milano University. Also this year, a series of scarves in printed silk was proposed to the Milan Triennale but was rejected. It was during this occasion that Piero’s work was noted by Gio Ponti. • 1935 At the sixth Triennale in Milan, Piero exhibited, among other things, a decorative bronze and ceramic frieze in an archaic style. • 1940 Piero met Gio Ponti and went on to design ‘The Lunar’ illustrated Calendar book for him. • 1942 Created frescoes for the Palazzo Bo in Padova. • 1943-1946 Went into exile in Switzerland. • 1947 Exhibited a series of motifs for ceramics at the Triennale (commissioned again by Gio Ponti).
    [Show full text]
  • Le Cas De Monsieur Sarmiento Et Les Artistes Italiens Résidant À Paris Dans Les Années Trente
    Le cas de Monsieur Sarmiento et les artistes italiens résidant à Paris dans les années Trente. Plusieurs peintres italiens vivant à Paris en 1928 décident de former le groupe des « Italiens de Paris ». Ce groupe est composé d’artistes dont quelques-uns sont déjà reconnus dans le milieu culturel méditerranéen, entre le Futurisme et la Métaphysique : Giorgio de Chirico, Alberto Savinio, Gino Severini, Massimo Campigli, René Paresce, Mario Tozzi et Filippo de Pisis. Jusqu’en 1933, ils inaugureront plusieurs expositions ensemble. Au début, ce fut un groupe de petite taille sans chef de file, mais la plupart n’était que de passage. Bien que Giorgio de Chirico pouvait être l’unique à pouvoir créer une place aux artistes Italiens dans l’Ecole de Paris, son tempérament trop instable et lunatique ne pût le permettre. C’est en 1926 que Mario Tozzi fonde le « Groupe des sept » avec Severini, Campigli, de Pisis, Paresce, Savinio et de Chirico pour encourager une série de manifestations d’art italien à Paris. Quelques-uns sont déjà parisiens lorsque la Première Guerre Mondiale éclate. Plusieurs ont déjà trouvé leur consécration. Bien que Gino Severini quitte la capitale française en 1926, il envoie une série de tableaux pour l’exposition « Les italiens de Paris » organisée par Mario Tozzi en 1927, et participera également au « Salon des Indépendants ». Giorgio de Chirico de retour à Paris trouvera la gloire en participant à la naissance du Surréalisme en 1924, dont il est par ailleurs considéré comme étant l’un des pères fondateurs. Alberto Savinio, frère de Giorgio de Chirico, arrive à Paris en 1926 et avec le soutien de Jean Cocteau, il dévoilera ses talents de peintre.
    [Show full text]
  • Italiani a Parigi
    italiani a Parigi Da Severini a S a v i n i o Da De ChiriCo a CamPigli Birolli Boldini Bucci campigli de chirico de pisis levi magnelli m e n z i o m o d i g l i a n i p a r e s c e pirandello prampolini rossi savinio severini soffici Tozzi zandomeneghi ItalIanI a ParIgI D a S e v e r I n I a S AVI n IO Da De ChIrico a CaMPIGLI Bergamo, 10 - 30 maggio 2014 Palazzo Storico Credito Bergamasco Curatori Angelo Piazzoli Paola Silvia Ubiali Progetto grafico Drive Promotion Design Art Director Eleonora Valtolina Indicazioni cromatiche VERDE BLU ROSSO C100 M40 Y100 C100 M80 Y20 K40 C40 M100 Y100 PANTONE 349 PANTONE 281 PANTONE 187 R39 G105 B59 R32 G45 B80 R123 G45 B41 ItalIanI a ParIgI Da Severini a SAVINIO Da De Chirico a Campigli p r e C u r so r i e D e r e D i Opere da collezioni private Birolli, Boldini, Bucci Campigli, de Chirico de Pisis, Levi, Magnelli Menzio, Modigliani Paresce, Pirandello Prampolini, Rossi Savinio, Severini, Soffici Tozzi, Zandomeneghi 1 I g ri a P a P r e f a z I o n e SaggIo CrItICo I a n li a T I 2 P r e f a z I o n e SaggIo CrItICo 3 Italiani a Parigi: una scoperta affascinante Nelle ricognizioni compiute tra le raccolte private non abbiamo incluso invece chi si mosse dall’Italia del territorio, nell’intento di reperire le opere che soltanto per soggiorni turistici o per brevi comparse.
    [Show full text]
  • Italy Creates. Gio Ponti, America and the Shaping of the Italian Design Image
    Politecnico di Torino Porto Institutional Repository [Article] ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE Original Citation: Elena, Dellapiana (2018). ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE. In: RES MOBILIS, vol. 7 n. 8, pp. 20-48. - ISSN 2255-2057 Availability: This version is available at : http://porto.polito.it/2698442/ since: January 2018 Publisher: REUNIDO Terms of use: This article is made available under terms and conditions applicable to Open Access Policy Article ("["licenses_typename_cc_by_nc_nd_30_it" not defined]") , as described at http://porto.polito. it/terms_and_conditions.html Porto, the institutional repository of the Politecnico di Torino, is provided by the University Library and the IT-Services. The aim is to enable open access to all the world. Please share with us how this access benefits you. Your story matters. (Article begins on next page) Res Mobilis Revista internacional de investigación en mobiliario y objetos decorativos Vol. 7, nº. 8, 2018 ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE ITALIA CREA. GIO PONTI, AMÉRICA Y LA CONFIGURACIÓN DE LA IMAGEN DEL DISEÑO ITALIANO Elena Dellapiana* Politecnico di Torino Abstract The paper explores transatlantic dialogues in design during the post-war period and how America looked to Italy as alternative to a mainstream modernity defined by industrial consumer capitalism. The focus begins in 1950, when the American and the Italian curated and financed exhibition Italy at Work. Her Renaissance in Design Today embarked on its three-year tour of US museums, showing objects and environments designed in Italy’s post-war reconstruction by leading architects including Carlo Mollino and Gio Ponti.
    [Show full text]
  • Auktion | Asta 35 24./25.5.2019
    Auktion | Asta 35 24./25.5.2019 24./25.5.2019 Schloss Maretsch, Bozen Castel Mareccio, Bolzano Bozner Kunstauktionen Reichsstraße 20 Via Nazionale I-39051 Branzoll | Bronzolo www.bozner-kunstauktionen.com 35 kunstauktionen bozner 1 35. AUKTION 35a ASTA SCHLOSS MARETSCH, BOZEN CASTEL MARECCIO, BOLZANO TEIL 1 PARTE 1 Italienische & internationale Moderne & Fotografie Arte moderna italiana & internazionale & fotografia (Los 1 – 215) (lotto 1 – 215) Freitag, 24.5.2019, 18.00 Uhr Venerdì, 24.5.2019, ore 18.00 TEIL 2 PARTE 2 Kunst aus Tirol & Varia (Los 301 – 637) Arte di soggetto trentino-tirolese & varia (lotto 301 – 637) Samstag, 25.5.2019, 15.00 Uhr Sabato, 25.5.2019, ore 15.00 VORBESICHTIGUNG ESPOSIZIONE Dienstag, 21.5.2019 Martedì, 21.5.2019 Mittwoch, 22.5.2019 Mercoledì, 22.5.2019 Donnerstag, 23.5.2019 Giovedì, 23.5.2019 Freitag, 24.5.2019 Venerdì, 24.5.2019 10.00 – 19.00 Uhr ore 10.00 – 19.00 Samstag, 25.5.2019 Sabato, 25.5.2019 9.00 – 12.00 Uhr ore 9.00 – 12.00 NACHVERKAUF | ABHOLUNG DER WERKE DOPO ASTA | RITIRO OPERE Schloss Maretsch Castel Mareccio Sonntag, 26.5.2019 Domenica, 26.5.2019 10.00 – 17.00 Uhr ore 10.00 – 17.00 Sitz Branzoll Sede di Bronzolo Nach Vereinbarung bis zum 20.06.2019 Su appuntamento fino al 20.06.2019 (Tel. +39 0471 301893 - [email protected]) (Tel. +39 0471 301893 - [email protected]) TEIL 3 PARTE 3 Werke aus Depot Opere dal deposito Auktion online Asta online Freitag, 28.6.2019 Venerdì, 28.6.2019 18.00 Uhr ore 18.00 2 KÜNSTLER | ARTISTI MODERNE/ARTE MODERNA Hansen Al 109 Reggiani Mauro 32, 34 Colorio Bruno 625 Kaan-Albest Julius v.
    [Show full text]
  • Les Italiens De Paris
    GRAPEVINE November 2015 - 7 Les Italiens de Paris etween 1928 and 1933, a group of seven Italian artists lived and worked in Paris: Giorgio de Chirico, his brother Andrea de Chirico (who took the name Alberto Savinio), Massimo Campigli, Filippo De Pisis, René Paresce, Gino Severini and Mario Tozzi. They followed on the footsteps of Amedeo Modigliani (also Italian), who lived Band worked in Paris from 1906 until his death. These artists developed new concepts of art, distancing themselves from Futurism and re-affirming the importance of the Italian tradition, while at the same time establishing themselves firmly in the here and now. Much of their work is an homage to classicism but re-visited often in a disturbing, surrealistic or metaphysical way. The Lucca Center for Contemporary Art has brought some of these fascinating paintings to Lucca where they are now on display. Le muse inquietanti by Giorgio de Chirico depicts two classical statues with eyeless sartorial Giorgio de Chirico mannequins for heads, situated in the foreground of a broad, grimly-lit piazza with the Estense Le Muse Inquietanti, 1950 ca. Castle of Ferrara in the distance, alongside a factory. olio su tela, 97x66 cm Both Giorgio and his brother were born in Greece, and the classical tradition figures strongly in their Fondazione Carima art, but this is transformed by the historical context in which they lived, between the two world wars. – Museo Palazzo Ricci, Macerata Photo © Stefano Ciocchetti Le navire perdu by Alberto Savinio offers the colorful and playful vision of a ship filled with toys, but which has hit the reefs while an ominous grey sky hovers in the background.
    [Show full text]
  • Italian Painting in Between the Wars at MAC USP
    MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters.
    [Show full text]
  • Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.
    [Show full text]
  • Catalogue Spring 2014
    1 Idea Books Nieuwe Herengracht 11 1011 RK Amsterdam The Netherlands tel +31 20 6226154 fax +31 20 6209299 e-mail [email protected] www.ideabooks.nl www.facebook.com/ideabooks.nl General Information This catalogue is a selected list of new titles. Consult our website www.ideabooks.nl for the complete list. Prices are in Euros and may change without notice. Titles marked with an asterisk (*) had not yet been published in March 2014. When ordering, please use Idea Codes. Contents Architecture 2 Art 19 Photography 33 Graphic Design 47 Industrial & Interior Design 50 Fashion & Textile 54 Performing Arts 57 Popular Culture 58 Gift 59 Essay & Literature 61 Index 62 Representation 64 2 3 El Croquis 168/169: Álvaro Siza ISBN 9788488386779 This is Hybrid (expanded edition) ISBN 9788461662371 El Croquis, El Escorial 2013 Euro 76,45 a+t architecture publishers, Vitoria- Euro 49,00 Idea Code 13540 Gasteiz 2014 Idea Code 14130 The acclaimed Portuguese architect Álvaro Siza Vieira An updated and enlarged selection of the articles and takes centre stage in this instalment, with special projects initially published in the ‘Hybrids’ series focus on works completed over the last five years. of ‘a+t’ magazine, this comprehensive overview of In total, 26 diverse projects are detailed, from the hybrid buildings in the 21st century seeks to uncover China International Design Museum and Camilo Study their potential and applications in the wider realm of Centre to wineries in Quinta do Portal and a spa in architecture and urbanism. Along with a prologue by Pedra Salgadas. The issue includes a biography of the Steven Holl, written specially for this compilation, master architect along with an essay by Juan Antonio the volume presents research on new prototypes Cortés analysing eleven architectural issues in the conducted by Iñaki Ábalos, plus works by Herzog & de work of Siza.
    [Show full text]