A Conversation Between Giuseppe Iannaccone and Alberto Salvadori Alberto Salvadori
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to Tommaso and Leonardo Volume I Italy 1920-1945 A New Figurative Art and Narrative of the Self Design Concept Particular thanks to Photographic Credits Studio Mousse Giuseppe Iannaccone Alessandro Barca, Romina © 2017. De Agostini Picture Note to the reader Bettega, Viviana Birolli, Arianna Library/Scala, Firenze: p. 129 Editorial Coordination Catalogue Editors Borroni, Italo Carli, Stefano © 2017. Scala. Foto Art Resource/ Emma Cavazzini Alberto Salvadori Carluccio, Claudio Centimeri, Scala, Firenze/John Bigelow Rischa Paterlini The first volume on the Collezione Giuseppe Iannaccone covers the works Copy Editor Giulia Centonze, Paolo Colonna, Taylor: p. 133 Anna Albano Texts by Caterina Corni, Marcello © 2017. Foto Scala, Firenze: produced in the period 1920–45, personally chosen by the collector and Giuseppe Iannaccone Francone, Paolo Frassetto, pp. 160 left, 178 left, 182 right, Layout Alberto Salvadori Elisabetta Galasso, Alessandro 194 left, 258 top, 294 left purchased up to the date of 30 November 2016. The reconstruction of Giorgia Dalla Pietà Rischa Paterlini Guerrini, Giovanni Lettini, © 2017. Foto Scala, Firenze/ every detail was made possible by the extensive, scholarly records kept Iconographic Research Fabio Benzi Martino Mascherpa, Matteo Fondo Edifici di Culto - Ministero Paola Lamanna Giorgina Bertolino Mattei, Riccardo Mavelli, dell’Interno: p. 306 ever since the first purchase in 1992. The collection was built up spe- Paola Bonani Oblò Architetti, Claudia Santrolli, © 2017. Foto Scala, Firenze/ First published in Italy in 2017 by Fabrizio D’Amico Beppe Sarno, Maura Sarno, Luciano Romano - su concessione cifically as a homogeneous group of works essentially representing the Skira editore S.p.A. Flavio Fergonzi Violante Spinelli, the Studio del Ministero dei Beni e delle course of artistic developments from 1920 to 1945 outside the canons of Palazzo Casati Stampa Lorella Giudici Legale avvocato Giuseppe Attività Culturali e del Turismo: via Torino 61 Mattia Patti Iannaccone e Associati, p. 198 right the Novecento Italiano movement and the “return to order”. The first part 20123 Milano Elena Pontiggia Marco Vianello, Bernabò Visconti © 2017. Foto Scala, Firenze Italy Carlo Sisi di Modrone, the Gabinetto - su concessione del Ministero of the book is devoted to Giuseppe Iannaccone and his personal vision of www.skira.net Scientifico Letterario G.P. dei Beni e delle Attività Culturali Technical Entries by Vieusseux in the persons of Gloria e del Turismo: pp. 121, 125, the history of art, describing the life and the decisions that characterize © 2017 Collezione Giuseppe Rischa Paterlini [R.P.] Manghetti and Fabio Desideri 304, 312 Iannaccone Alessandra Acocella [A.A.] the collection with the greatest possible fidelity. Flavio Fergonzi then pre- for kind permission to consult © Archivio Fotografico e © 2017 The authors for their texts Dario Moalli [D.M.] precious, unpublished material, Mediateca MART: p. 164 © 2017 Skira editore, Milano Elena Pontiggia [E.P.] sents the twenty-five years in question with a study that puts forward and and Silvia Somaschini for her © Foto Musei Vaticani: p. 302 © Giuseppe Capogrossi, Felice Caterina Toschi [C.T.] invaluable work and research © RMN-Grand Palais (musée examines twelve critical themes for Italian art. This is followed by essays Casorati, Giorgio de Chirico, List of Works, Exhibitions, for the book A Loving Hunt, d’Orsay) / René-Gabriel Ojéda/ Filippo de Pisis, Otto Dix, Renato Bibliography edited by use of which was made also distr. Alinari: p. 322 right meticulously analyzing the cultural, historical and artistic events of the Guttuso, Carlo Levi, Umberto Rischa Paterlini for the present updated work. Association des Amis du Petit Lilloni, Giorgio Morandi, Fausto period 1920–45 by scholars who have explored and studied the collection Palais, Genève. Studio Peter Pirandello, Aligi Sassu, Alberto Critical Chronology 1920–1945* * The critical chronology covers Schälchli, Zürich: p. 101 Savinio by SIAE 2017 edited by in depth. The descriptions of the works appear in alphabetical order and the period from 1920 to 1945, Galleria d’Arte Moderna Ricci © Succession Picasso by SIAE Alessandra Acocella during which the works of the Oddi, Piacenza: p. 258 bottom outline their history, any remaining gaps being due to the impossibility of 2017 Caterina Toschi Collezione Giuseppe Iannaccone MONDADORI PORTFOLIO/ All rights reserved under Curatorial Assistant were produced. Political events, Electa/Sergio Anelli: p. 236 obtaining further information. international copyright Dario Moalli biographical data and information bottom left These entries are separated by tipped-in pages on special paper glued by conventions. on exhibitions, prizes and Van Gogh Museum, Amsterdam: Stagiaire No part of this book may be publications regarding the artists p. 166 left Maria Chiara Ghilardi hand telling how the works came to enter the collection and/or discussing reproduced or utilized in any concerned appear alongside form or by any means, electronic Press Office a critical anthology on the works the collector’s relationship with the artists or with people playing a key or mechanical, including Lara Facco P.& C. to outline the history of an artistic photocopying, recording, or any movement at variance with the part in building up the collection. The rich critical apparatus comprises Photographs of the Collection information storage and retrieval cultural policy of the Fascist Paolo Vandrasch a list of the works with all the technical data required for the purposes system, without permission in regime in a complex, vital creative writing from the publisher. period of twentieth-century of historical reconstruction; a critical chronology of the period 1920–45 Italian art. Printed and bound in Italy. including events in Italy’s political and social history, biographical data, First edition The content of the critical chronology was selected by ISBN: 978-88-572-3503-5 information on exhibitions, prizes and publications regarding the artists Alessandra Acocella for the years Distributed in USA, Canada, 1920–33 and Caterina Toschi concerned and a critical anthology for each work; a list in chronological Central & South America by for 1934–45. Rizzoli International Publications, order of exhibitions featuring the works; and a bibliography by artist in Inc., 300 Park Avenue South, New alphabetical order including books, newspapers, periodicals and exhibi- York, NY 10010, USA. Distributed elsewhere in the world tion catalogues. by Thames and Hudson Ltd., 181A High Holborn, London WC1V 7QX, United Kingdom. Alberto Salvadori Rischa Paterlini contents 11 DIALOGUES 115 The Universe in a Leaf. Rosai and De Pisis 13 Artists as Friends CARLO SISI GIUSEPPE IANNACCONE 125 The Painting of Reality. 19 A Conversation between Giuseppe The Shift to Realism in the Roman Iannaccone and Alberto Salvadori Painting of the Thirties ALBERTO SALVADORI FABIO BENZI 39 Tireless Passion or Sublime Madness? 135 Animating the Painting RISCHA PATERLINI with Vibrations of Life: the School of Via Cavour, 1927–33 PAOLA BONANI 53 ESSAYS 143 The Brief Transit of Scipione 55 Twelve Critical Themes for Italian Art FABRIZIO D AMICO between the Two World Wars ’ FLAVIO FERGONZI 151 THE COLLECTION 77 Garbari: a Master ELENA PONTIGGIA 339 LIST OF WORKS RISCHA PATERLINI 81 Lilloni, De Rocchi and Del Bon: the Chiaristi in the Collezione Giuseppe Iannaccone 363 CRITICAL CHRONOLOGY 1920-1945 LORELLA GIUDICI ALESSANDRA ACOCELLA, CATERINA TOSCHI 89 Reality and Utopia. The Birolli Paintings in the Collezione Giuseppe Iannaccone 389 EXHIBITIONS RISCHA PATERLINI ELENA PONTIGGIA 401 BIBLIOGRAPHY 97 The Painting of the Corrente Group: RISCHA PATERLINI between Colour and Reality MATTIA PATTI 105 The Six Painters of Turin: European and Modern. Themes, Exhibitions and Paintings through a Collection GIORGINA BERTOLINO DIALOGUES Artists as Friends GIUSEPPE IANNACCONE I obviously did not live in Italy between the two world wars. Nor have I been personally acquainted with any of the artists in my collection ex- cept for Aligi Sassu and Ernesto Treccani. I feel, however, that I could certainly have taken part in their meetings and their impassioned dis- cussions about art, the meaning of truth in painting, the use of col- our or the urgent need to go beyond official academic painting. It is as though I knew them all just as I know my friends, their characters, their strengths and weaknesses, no more and no less, and this make me reflect on it. I know, for example, what Renato Birolli felt on his arrival in Milan from the Veneto region: a wild desire to devour the city with his love, a city that he knew would not fail to give him immense joy. Milan was a big city for someone from a small town such as Verona must have been back then. As we know, however, and as I know from personal experience, Milan welcomes you with open arms, Milan encourages you, Milan is a dream to be lived with your eyes wide open. So it was for the young Birolli. Milan was a wonderful fairytale that gave him the joy of being an artist, freedom in art, freedom in painting. There it was that the university district soon became his splendid, fabulous model, that Via Colombo, then peripheral with respect to the city centre, became a lit- tle earthly paradise in his fantastic landscapes. I fell in love with Birolli straight away for his ability to capture reality through the magnifying glass of poetry. In any case, how sad it would be to live our lives only as a mere relation- ship with reality without the sublimation that we alone, in our innermost depths, can see in things and still more in people. Though obviously unable to paint, I can live in symbiosis with Birolli because we share the same approach to reality. Think of the Lambro park. You may wonder why we should be talking about a rundown place on the outskirts of Milan. Now look at Birolli’s I poeti [The Poets] and La nuova Ecumene [The New Ecumene]. Pure poetry! The setting of both works is, however, the Lambro park, as revisited through the poetic vision of an artist.