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Editorial project Forma Edizioni srl Florence, Italy redazione@formaedizioni.it www.formaedizioni.it Editorial direction Laura Andreini Editorial consulting Riccardo Bruscagli Editorial staff Maria Giulia Caliri Livia D’Aliasi Beatrice Papucci Graphic design and layout Archea Associati, Florence Elisa Balducci Isabella Peruzzi Mauro Sampaolesi Alessandra Smiderle Translations Katy Hannan Simon Turner Photolithography LAB di Gallotti Giuseppe Fulvio Florence, Italy Texts © the authors Images © Archivio Foto Locchi Firenze: p. 8 © IF INDUSTRIALFOTO, (FI) © Neri Casamonti: pp. 11, 14, 278-279 © Stefano Giraldi: p. 20 © Filippo Milani: p. 6

© 2018 Forma Edizioni srl, Florence, Italy The editor is available to copyright holders for any questions about unidentified iconographic sources. All rights reserved, no part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher, without prejudice to the legal requirements provided for in Art. 68, sub-sections 3, 4, 5 and 6 of Law No. 633 of 22 April 1941. First edition: February 2018

© Carla Accardi by SIAE 2018 © Afro by SIAE 2018 © Josef Albers by SIAE 2018 © Pierre Alechinsky by SIAE 2018 © Getulio Alviani by SIAE 2018 © Karel Appel Foundation by SIAE 2018 © Giacomo Balla by SIAE 2018 © Max Bill by SIAE 2018 © Agostino Bonalumi by SIAE 2018 © George Braque by SIAE 2018 Fondazione Palazzo Albizzini-Collezione Burri, Città di Castello © by SIAE 2018 © Massimo Campigli by SIAE 2018 © Giuseppe Capogrossi by SIAE 2018 © Felice Casorati by SIAE 2018 © Enrico Castellani by SIAE 2018 © Chagall ® by SIAE 2018 © Roberto Crippa by SIAE 2018 © Salvador Dalì, Gala-Salvador Dalì Foundation by SIAE 2018 © Fondazione Giorgio e Isa de Chirico by SIAE 2018 © Filippo de Pisis by SIAE 2018 © Maurice de Vlaminck by SIAE 2018 © Piero Dorazio by SIAE 2018 © Max Ernst by SIAE 2018 © Jean Fautrier by SIAE 2018 © Tano Festa by SIAE 2018 © Fondazione Lucio Fontana, Milano by SIAE 2018 © Domenico Gnoli by SIAE 2018 © Renato Guttuso by SIAE 2018 © Hans Hartung by SIAE 2018 © Donation Jorn, Silkeborg by SIAE 2018 © Succession Yves Klein by SIAE 2018 © Jannis Kounellis by SIAE 2018 © Wifredo Lam by SIAE 2018 © FLC by SIAE 2018 © Fernand Léger by SIAE 2018 © Osvaldo Licini by SIAE 2018 © Alberto Magnelli by SIAE 2018 © Fondazione Piero Manzoni, Milano by SIAE 2018 © Marino Marini by SIAE 2018 © André Masson by SIAE 2018 © Georges Mathieu by SIAE 2018 © Sebastian Matta by SIAE 2018 © Giorgio Morandi by SIAE 2018 © Estate of Louise Nevelson by SIAE 2018 © Achille Perilli by SIAE 2018 © Succession Picasso by SIAE 2018 © Fausto Pirandello by SIAE 2018 © Serge Poliakoff by SIAE 2018 © Mimmo Rotella by SIAE 2018 © Antonio Sanfilippo by SIAE 2018 © Alberto Savinio by SIAE 2018 © Paolo Scheggi by SIAE 2018 © Mario Sironi by SIAE 2018 © Giulio Turcato by SIAE 2018 © Victor Vasarely by SIAE 2018 © The Andy Warhol Foundation for the Visual Arts Inc. by SIAE 2018

DAGLI INIZI DEL XX SECOLO AGLI ANNI ’60 PALAZZO BARTOLINI SALIMBENI, FIRENZE from 24 March 2018 Project Roberto Casamonti Curated by Bruno Corà Exhibition promoted and organised by Associazione per l’Arte e la Cultura Collezione Roberto Casamonti President Roberto Casamonti Director Sonia Zampini Administrative management Vittoria Sammuri Editorial coordination Roberto Casamonti Sonia Zampini Vittoria Sammuri Special thanks to Anna Ostellari and all those who contributed to the realization of this editorial project Colli & Perin S.r.l. - Assicuratori Synkronos Italia MGA S.r.l. for the insurance consultation provided

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DARIO NARDELLA

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Introduction ROBERTO CASAMONTI

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Palazzo Bartolini Salimbeni, A Historic Building in Florence

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The Battle of Gavinana

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A Conversation between Roberto Casamonti and Bruno Corà

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The Roberto Casamonti Collection of Art in Florence BRUNO CORÀ

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WORKS

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BIOGRAPHICAL NOTES

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BIBLIOGRAPHICAL NOTES

Palazzo Bartolini Salimbeni, A Historic Building in Florence

View of Palazzo Bartolini Salimbeni and the Column of Justice

Now five hundred years since it was built, the Renaissance Palazzo Bartolini Salimbeni stands in a magnificent urban setting in the heart of the city. It is undoubtedly one of the most renowned private buildings in Florence. When it first appeared, however, it did so in a whirl of controversy, to a typically Florentine form of sarcasm and criticism that, as we are reminded by a number of historians, from Giorgio Vasari onwards, was directed at the building and especially at the architect, Baccio d’Agnolo (1462-1543), immediately after its completion. The reason for the attacks by the denigrators five centuries ago, which were soon silenced by an ever more intense wave of appreciation, was the novelty of the design, which made a radical break from local architectural tradition. The architect went so far as to defend his work by putting up the famous inscription carved in magnificent Roman square capitals above the main entrance: “CARPERE PROMPTIVS QVAM IMITARI” (“It is easier to criticise than to imitate”). What sparked the dispute all those years ago, towards the end of the Florentine Republic, was the originality of its façade, which introduced innovative architectural features that had been used during those years in Rome, and by Raphael in particular, such as in the magnificent front of the now lost Palazzo Branconio. The solutions adopted by Baccio, which gave the building its supremely elegant classicism, were essentially the architraved portal, the gabled windows, the niches for statues, the string courses decorated with the family impresa, and the bold projecting cornice. This wealth of ornament made a complete break with the style previously used for the most important buildings, like the residences of the Medici and Strozzi families, which were austere fortress-like constructions with much use of ashlar-work. Here, said the critics, the motifs were more in keeping with a place of worship than with a private home. Just a few years later, at the time of the Duchy, this private ostentation inspired by classicism would not have surprised anyone. Baccio d’Agnolo, who had already created a number of important works in the city, both as a carver and sculptor, and as an architect, received the commission from Giovanni Bartolini Salimbeni (14721544), a prior and superintendent of the Mint. He had already built the Casino di Gualfonda, a splendid urban villa up against the city walls, for Salimbeni some time previously. Eight shops, two houses and an inn, the Locanda del Cammello, had a positive influence on the final design but were nevertheless demolished to make way for the building, which was completed in just three years. The ownership of the building was made clear to passers-by not only by the lion placed at the sides of the façade, as a symbol of the Bartolini Salimbeni family, but also by the famous three poppy seed pods surrounded by a ribbon and closed by a ring. This is accompanied in the horizontal arms of the mullion-and-transom window – which is reminiscent of fifteenth-century Rome – with the motto “per non dormire” (“lest we sleep”). The inscription is repeated in other parts of the building, such as in the sgraffito work by Andrea di Cosimo Feltrini (1477-1548), which adorns the elegant internal courtyard, which has a spacious gallery on two sides, while the third is filled in. It also appeared repeatedly on the furnishings, as in the magnificent garland by Luca della Robbia the Younger, now in the Bargello. This splendid artefact, which is based around the family crest, was originally on the ceiling of the little first-floor loggia, which runs along one side of the internal courtyard. The spacious interiors, such as the majestic hall on the first floor, have exquisite fittings, such as

A Conversation between Roberto Casamonti and Bruno Corà BRUNO CORÀ

What have your guiding principles been when purchasing works for the Collection? ROBERTO CASAMONTI

My decisions have almost always been guided by passion, leaving considerations about formats, prices and dates rather to one side. Having seen my father’s approach, my initial principle was always to follow my instinct, without being afraid to make “mistakes” – which means without ever worrying about going against the trend. Secondly, if I look back over many of my decisions, I’d say I’ve generally preferred to steer clear of the reassuring serial production of iconic models adopted by many artists, allowing myself to be seduced by the special, rare object, preferably even one that’s unusual or atypical. Lastly, I must say I’ve always tried to base my choice also on an assessment of the time and place where the works were made, considering the innovation and courage they expressed when they were created. So, it’s passion and instinct above all... and this approach ultimately paid off, because when I decided in 1981 to open an art gallery, I thought it wouldn’t be much more than a hobby, and I had no idea it would turn into such a serious thing – my work and my life. It was crazy, but I’m instinctive by nature and I do crazy things every now and then, like possibly now that I’m opening part of my collection to the public.

Palazzo Bartolini Salimbeni, internal courtyard. In the centre, the statue of Bacchus with a panther (work by an unknown Florentine artist from the second half of the 16th century)

BC Did you initially look to certain artists who convinced you the most, who were closest to your sensitivities, or did you also exchange views with critics and scholars, who pointed you in certain directions? RC I’m self-taught. The spark that set off my first love of painting – a love that was as overwhelming as all young loves – came when I was still a child. I was ten years old and still wore shorts, like all children in the early 1950s, when I accompanied my father to Ottone Rosai’s studio, where he had his portrait painted. I spent hours waiting, silently, sitting to one side. I was enchanted by that faraway world. I found myself taking in every detail, every smell and word and silence... A solemn atmosphere amid the dust, tubes of paint, the smell of turpentine, and rags for cleaning brushes. My eyes were popping out as I gradually tried to take in that unknown world. A few years later, I was again with my father when he chose his first works from the Tuscan masters Ardengo Soffici and Lorenzo Viani, which went up on the walls at home in the early 1950s, before a television or even a fridge entered the house. In the early 1960s came the Alfa Romeo, as well as the first paintings by Felice Casorati and Carlo Carrà. And, ultimately, Giorgio de Chirico. Once the terrible shock of the flood was over, it was time for me to start taking my first steps. A natural sense of emulation had initially led me to look in a muddled sort of way at works by Gianni Dova and Massimo Campigli, but also by Mafai and Guttuso. It was only in the late 1960s and early ’70s that I started being enticed by new artistic styles, though I still don’t know if this was more a matter of courage, good fortune, or foresight. What is certain is that I once again found myself in silence, still wide-eyed and engrossed, closer to the child sitting in Ottone Rosai’s studio than to the man I had by that time become. I found myself entranced as I attempted to understand something so far removed from painting that I had nevertheless learnt to see. It was a visual language with a new alphabet of cuts and lacerations, of

FELICE CASORATI Novara, 1883 – Torino, 1963

PUBBLICAZIONI ∙ Tiziano Forni, Ottant’anni. 40 di mostre, Galleria Forni, Bologna 2002, p. 68 ∙ Giorgina Bertolino, Francesco Poli, Casorati Catalogo Generale, Allemandi Editore, Torino 2004, p. 408, n. 902 ESPOSIZIONI ∙ “Tiziano Forni. Ottant’anni. 40 di mostre”, Galleria Forni, Bologna (2002) ∙ “Felice Casorati”, Galleria d’Arte Frediano Farsetti, Farsettiarte-Cortina d’Ampezzo, Milano (2006) ∙ “Donne D’Italia La meta dell’unità”, Palazzo Blu, Pisa (2011)

L’Angelo azzurro, 1951

olio su tela, 130 × 95 cm

RENATO GUTTUSO

Fiasco, candela e bollitore, 1940-41

olio su tela, 54 × 73 cm

tolica), Sellerio, Palermo 1987, p. 71, tav. n. 104, tav. n. 109 ∙ Paolo Fossati, Immagini e figure. Momenti della pittura in Italia 1928-1942, catalogo della mostra, Museo Civico, Riva del Garda 1988, p. 64, n. 27 ∙ Carmelo Occhipinti, Guttuso, tra segno e colore. Opere 1924-1985, Comune di Argenta 1988, p. 136 ∙ Andrea Buzzoni, Fabrizio D’Amico, Flaminio Gualdoni, Pittura e realtà, catalogo della mostra (Ferrara, Palazzo dei Diamanti), Ferrara Arte, Ferrara 1993, p. 176, fig. 21 ∙ Maurizio Calvesi, Il tragitto di Renato Guttuso, catalogo della mostra, Whitechapel Art Gallery, London 1996, p. 88, n. 148 ∙ Enrico Crispolti, Renato Guttuso. Opere della Fondazione Francesco Pellin, catalogo della mostra (Milano, Fondazione Mazzotta; Roma, Chiostro del Bramante), Mazzotta, Milano 2005, pp. 58-59, n. 6 ∙ AA.VV., Arte moderna e contemporanea. Antologia scelta 2017, catalogo della mostra, Tornabuoni Arte, Firenze 2016, pp. 138-139

bio (a cura di), “Guttuso. Opere dal 1931 al 1981”, Palazzo Grassi, Venezia (aprile-giugno 1982) ∙ Luciano Caprile (a cura di), “Guttuso a Genova nel nome Della Ragione”, Villa Croce, Genova (ottobre-novembre 1985) ∙ “Renato Guttuso, dagli esordi al Got mit Uns 1924-1944”, Galleria d’Arte Moderna di Villa Cattolica, Bagheria (giugno-settembre 1987); Palazzo Isimbardi, Milano (ottobre 1987-gennaio 1988) ∙ Paolo Fossati (a cura di), “Immagini e figure. Momenti della pittura in Italia 1928-1942”, Museo Civico, Riva del Garda (luglio-ottobre 1988) ∙ Andrea Buzzoni, Fabrizio D’Amico, Flaminio Gualdoni (a cura di), “Pittura e realtà”, Palazzo dei Diamanti, Ferrara; Palazzo del Governatore, Cento (febbraio-maggio 1993) ∙ Maurizio Calvesi (a cura di), “Il tragitto di Renato Guttuso”, Whitechapel Art Gallery, London (maggio-luglio 1996); Civiche Gallerie, Ferrara (luglio-settembre 1996) ∙ Enrico Crispolti (a cura di), “Renato Guttuso. Opere della Fondazione Francesco Pellin”, Chiostro del Bramante, Roma (marzo-giugno 2005)

Bagheria, 1912 – Roma, 1987

PUBBLICAZIONI ∙ AA.VV., Renato Guttuso - Orfeo Tamburi, catalogo della mostra, Galleria V. E. Barbaroux, Milano 1941, tav. n. 8 ∙ Alberto Moravia, Franco Grasso, Renato Guttuso, Edizioni Il Punto, Palermo 1962, p. 61 ∙ AA.VV., Renato Guttuso. Mostra antologica dal 1931 ad oggi, catalogo della mostra, Palazzo della Pilotta, Parma 1963, tav. n. 46, tav. 19b ∙ AA.VV., Renato Guttuso, catalogo della mostra, Kunstverein Darmstadt, Darmstadt 1967, p. 2 ∙ AA.VV., Renato Guttuso, catalogo della mostra, Stadtische Kunsthalle Recklinghausen, Recklinghausen 1967, tav. n. 2 ∙ AA.VV., Renato Guttuso, catalogo della mostra, Musée d’Art de la Ville de Paris, Paris 1971, tav. n. 6 ∙ Antonio Del Guercio, Renato Guttuso, Club Amici Centro Arte Annunciata, Milano 1971, tav. n. 5 ∙ AA.VV., Guttuso, catalogo della mostra, Neue Gesellschaft fur bildende Kunst, Berlin 1972, p. 62, tav. n. 5 ∙ AA.VV., Renato Guttuso, Fratelli Fabbri Editori, Milano, 1976, fig. 7 ∙ AA.VV., Renato Guttuso, catalogo della mostra, Galleria dello Scudo, Verona 1977, p. 17 ∙ Maurizio Calvesi, Cesare Brandi, Vittorio Rubio, Guttuso. Opere dal 1931 al 1981, catalogo della mostra (Venezia, Palazzo Grassi), Sansoni, Firenze, 1982, p. 126, tav. n. 17, tav. x ∙ AA.VV., Omaggio a Renato Guttuso, Graphis Arte, Livorno 1982, p. 133 ∙ Enrico Crispolti, Renato Guttuso. Catalogo Ragionato Generale dei Dipinti 1924/1953, Giorgio Mondadori, Milano 1983, vol. 1, p. 99, nn. 4041/3 ∙ Cesare Brandi, Guttuso, Fratelli Fabbri Editori, Milano 1983, tav. n. 17 ∙ Luciano Caprile, Guttuso a Genova nel nome Della Ragione, catalogo della mostra (Genova, Villa Croce), Electa, Milano 1985, p. 42, tav. n. 13 ∙ AA.VV., Renato Guttuso, dagli esordi al Got mit Uns 1924-1944, catalogo della mostra (Bagheria, Galleria d’Arte Moderna di Villa Cat-

ESPOSIZIONI ∙ “Renato Guttuso - Orfeo Tamburi”, Galleria V. E. Barbaroux, Milano (dicembre 1941-gennaio 1942) ∙ “Renato Guttuso. Mostra antologica dal 1931 ad oggi”, Palazzo della Pilotta, Parma (dicembre 1963-gennaio 1964) ∙ “Renato Guttuso”, Kunstverein Darmstadt, Darmstadt (agosto-ottobre 1967) ∙ “Renato Guttuso”, Stadtische Kunsthalle Recklinghausen, Recklinghausen (ottobre-novembre 1967) ∙ “Guttuso. Premio Raffaele De Grada per il paesaggio”, Città di San Gimignano 1970 ∙ “Renato Guttuso”, Musée d’Art de la Ville de Paris, Paris (settembre-novembre 1971) ∙ “Guttuso”, Neue Gesellschaft fur bildende Kunst, Berlin (febbraio-marzo 1972) ∙ “Renato Guttuso”, Galleria dello Scudo, Verona (novembre 1977-gennaio 1978) ∙ Maurizio Calvesi, Cesare Brandi, Vittorio Ru-

RENATO BIROLLI Verona, 1905 – Milano 1959

PUBBLICAZIONI ∙ AA.VV., Arte moderna e contemporanea. Antologia scelta 2016, catalogo della mostra, Tornabuoni Arte, Firenze 2015, p. 32

Uccelli, 1947

tecnica mista su faesite, 45 × 33,5 cm

OSVALDO LICINI Monte Vidon Corrado, 1894 – 1958

PUBBLICAZIONI ∙ Giuseppe Marchiori, Licini. I cieli segreti di Osvaldo Licini, col Catalogo Generale delle Opere, Alfieri Ed., Venezia 1968, p. 239, n. 277, p. 291, n. 376 ∙ Didi Bozzini, Salviamo la pelle, catalogo della mostra, Claudio Poleschi Arte Contemporanea, Lucca 2014, pp. 54-55 ∙ Sergio Risaliti, Il Dado è tratto, catalogo della mostra (Firenze, Tornabuoni Arte), Forma Edizioni, Firenze 2015, p. 129 ∙ AA.VV., Arte moderna e contemporanea. Antologia scelta 2016, catalogo della mostra, Tornabuoni Arte, Firenze 2015, p. 141 ESPOSIZIONI ∙ “Arte Moderna in Italia dal 1920 ad oggi”, Quadriennale Nazionale d’Arte Istituto Italo-Latino-Americano, Roma (giugno-dicembre 1967) ∙ Sergio Risaliti (a cura di), “Il Dado è tratto”, Tornabuoni Arte, Firenze (settembre-novembre 2015)

Angelo ribelle su fondo celeste, 1952

olio su tela, 49 × 65 cm

ATANASIO SOLDATI

Composizione, 1952

Parma, 1896 – 1953

PUBBLICAZIONI ∙ Luciano Caramel, MAC Movimento Arte Concreta 1948-1952, catalogo della mostra, Electa, Milano 1984, p. 108, n. 70 ∙ Luciano Caramel, Atanasio Soldati. Mostra Antologica 1930-1953, catalogo della mostra, Palazzi Comunali, Associazione Piazza Maggiore, Todi 1986, pp. 66-74 ∙ Mirella Bandini, Allitterazioni. Dieci artisti del MAC tra ieri e oggi, Fratelli Fabbri Editori, Milano 1987, p. 71 ∙ Augusto Garau, Atanasio Soldati. Opere dal 1932 al 1953, Edizioni Vanni Scheiwiller, Milano 1990, tav. n. 62 ∙ Elena Pontiggia, Bo Sarnstedt, Elio Santarella, Bildlyrik Fran Italien. Il miraggio della liricità, arte astratta in Italia, Liljevalchs Konsthall, Stockholm 1991, p. 47 ∙ Luciano Caramel, Atanasio Soldati. Mostra antologica nel centenario della nascita, catalogo della mostra, Galleria d’Arte Niccoli, Parma 1996, p. 153, n. 118 e copertina ∙ Carla Cardini, Come l’acqua e il fuoco. Le colorate geometrie di Atanasio Soldati, Monte Università Parma Ed., Parma 2009, p. 57 ∙ AA.VV., Arte moderna e contemporanea. Antologia scelta 2014, catalogo della mostra, Tornabuoni Arte, Firenze 2013, p. 221 ∙ Sergio Risaliti, Il Dado è tratto, catalogo della mostra (Firenze, Tornabuoni Arte), Forma Edizioni, Firenze 2015, p. 211

100

ESPOSIZIONI ∙ Luciano Caramel (a cura di), “Mostra storica del MAC Movimento Arte Concreta”, Civica Galleria d’Arte Moderna, Gallarate (aprile-giugno 1984) ∙ Luciano Caramel (a cura di), “Atanasio Soldati. Mostra Antologica 1930-1953”, Palazzi Comunali, Todi (ottobre-novembre 1986) ∙ Mirella Bandini (a cura di), “Allitterazioni. Dieci artisti del MAC tra ieri e oggi”, Torre del Lebbroso, Aosta 1987 ∙ Guido Ballo (a cura di), “Maestri Italiani dell’Astrattismo”, Studio Reggiani, Milano (maggio-giugno 1989) ∙ Elena Pontiggia, Bo Sarnstedt, Elio Santarella (a cura di), “Bildlyrik Fran Italien. Il miraggio della liricità, arte astratta in Italia dopo il 1945”, Liljevalchs Konsthall, Stockholm (1991) ∙ Luciano Caramel (a cura di), “Atanasio Soldati. Mostra antologica nel centenario della nascita”, Galleria d’Arte Niccoli, Parma (dicembre 1996-marzo 1997) ∙ Sergio Risaliti (a cura di), “Il Dado è tratto”, Tornabuoni Arte, Firenze (settembre-novembre 2015)

olio su masonite, 89 × 116 cm

101

LUCIO FONTANA Rosario di Santa Fé, 1899 – Comabbio, 1968

PUBBLICAZIONI ∙ Enrico Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, voll. I-II, Skira, Milano 2006, vol. I, p. 164, n. 35-36 SC 15 ∙ AA.VV., Arte moderna e contemporanea. Antologia scelta 2015, catalogo della mostra, Tornabuoni Arte, Firenze 2014, p. 133 ∙ Enrico Crispolti, Luca Massimo Barbero, Edward Lucie-Smith, Lucio Fontana, catalogo della mostra (London, Tornabuoni Art), Forma Edizioni, Firenze 2015, pp. 86-87 ESPOSIZIONI ∙ Enrico Crispolti, Luca Massimo Barbero, Edward Lucie-Smith (a cura di), “Lucio Fontana”, Tornabuoni Art, London (ottobre-dicembre 2015)

192

Cavallo, 1935-36

materiale refrattario colorato, 66,5 × 104 × 53 cm

193

GIÒ POMODORO Orciano di Pesaro, 1930 – Milano, 2002

PUBBLICAZIONI ∙ AA.VV., Arte moderna e contemporanea. Antologia scelta 2016, catalogo della mostra, Tornabuoni Arte, Firenze 2015, p. 200

240

Folla, 1964

bronzo lucidato, 72 × 168 × 35 cm

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