Mar

The Art Gallery, whose collections range from the fourteenth century to the present day, is open to modernity in the recent new permanent exibition. From neoclassical landscape of Giambattista Bassi up to the testimonies already symbolist Vittorio Guaccimanni, and gifted Domenico Baccarini. Central, in the contemporary collection, a female nude by Klimt.

The new display of the collections of the 20th century, in these rooms, wants to restore a chronological and historical-artistic narrative that traces the main stages of Italian art from the post-war period until the 80s, interweaving the artistic trends that have arisen in major cultural institutions, such as the Venice Biennale, to the most experimental movements. The itinerary opens with a section dedicated to investigative sculpture, established between the mid-40s and early 50s, in which we can already see, through the works of Mirko, Emilio Greco and Carlo Sergio Signori, the metamorphosis of representation in a first form of informal abstractionism.

The artistic evolution is mostly represented through the pictorial evidences of the 60s and 70s, years in which different expressive needs emerged, leading to the conceptual movement and to its variants. In this context, in the second room there is a sort of dialogue between the works of Piero Manzoni, Dadamaino and Luciano Bartolini, expressions of the artists’ need for a total reset of figurative art in favour of an introspective research and a personal, achromatic and sign-like language.

The works of Mattia Moreni and Ennio Morlotti, through a process of subjectification of nature, are still linked to an ultimate form of realism, understood as the decay of the human condition. In the same years, geometric movements and analytical studies also established themselves, here represented by the works of Carlo Ciussi and Joël Kermarrec. The last room shows the coexistence of artistic movements between the 70s and 80s, from the Arte Povera with Gilberto Zorio to the individuality of radical personalities, as witnessed by the scenographic chromatism of Titina Maselli in her urban representation, by the informal abstractionism of Giulio Turcato and by the drama force of existence emerging in the pictorial intensity of Piero Manai.

The late twentieth century is documented by a core area of informal work, followed by a few prominent names of the Roman Pop as Schifano and Tano Festa, to continue with the protagonists of the current abstract artist and analytical orientation, as Veronesi, Boetti, Castellani up to the Carla Accardi’s sign and the painting of Mondino, until to the irriverent Cattelan, the wire mesh installation of Edoardo Tresoldi located in the ancient cloister of the museum, until the most famous street artist Banksy.