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CREATIVITY AND COMPROMISE Futurism, Valori Plastici, Novecento, Scuola Romana, the Italians of Paris – increasing attention is being paid to the exceptional artistic phenomena of the inter-war years,
ULLSTEIN BILD/ARCHIVI ALINARI E ©2017. DIGITAL IMAGE, THE MUSEUM OF MODERN ART, NEW YORK/SCALA, FIRENZE
treading a fine line between creativity and politics
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COURTESY ISTITUTO MATTEUCCI, VIAREGGIO. ©FELICE CASORATI BY SIAE 2018
©TATE, LONDON 2017 E ©PIERRE ROY BY SIAE 2018 © MIBACT – PINACOTECA DI BRERA, ARCHIVIO FOTOGRAFICO ©GIORGIO MORANDI
by Micaela Zucconi
T
wo shows, one in Milan, one in London, provide an opportunity to explore the Italian art scene in the inter-war years and focus attention
on its most important figures. This multifaceted artistic period is the subject of the exhibition Post Zang Tumb Tuum. Art, Life, Politics: Italia 19181943, at the Fondazione Prada in Milan, curated by Germano Celant (until 25 June 2018). The title is a reference to the book by Filippo Tommaso Marinetti, the man behind the Futurist Manifesto – but it’s also a conceptual
Opening, Tommaso Marinetti at home (from Wiener Illustrierte Zeitung and Berliner illustrierte Zeitung 1934); background, Dinamismo di un footballer, by Umberto Boccioni, 1913. Here, clockwise, Pierre Roy, A Naturalist’s Study, 1928. Felice Casorati, Ritratto di Renato Gualino, 1923-24. Giorgio Morandi, Natura morta, 1920
springboard for the exhibition dedicated to this period of dazzling creativity and originality, and its links with the Fascist regime. Alongside the works visitors will be able to examine documents, life-size photographs and reconstructions of exhibitions and artists’ studios, including furniture. The list of featured artists includes Giacomo Balla, Carlo Carrà, Felice Casorati, Giorgio de Chirico, Fortunato Depero, Filippo de Pisis, Fausto Melotti, Giorgio Morandi, Mario Sironi, Gino Severini, Scipione, Arturo Tosi and Adolfo Wildt, representing movements, groups and trends like Futurism, Valori Plastici, Novecento, Roman School, the so-called Italians of Paris, the abstract group and Corrente. The exhibition concludes with drawings made 89
©GIACOMO BALLA BY SIAE 2018
[ ART ON BOARD ]
preparatory drawings, attracting the admiration of the Mario Sironi – to
soldiers that liberated the camp. He had emigrated the US before the war
theatre sets and ceramics. Forced to leave Europe, Cagli moved to New
when Italy passed its Race Laws, and then enlisted in the American army.
York and then fought in Europe, taking part in the Normandy landings and
The exhibition provides an in-depth view of the artist, who had already
recording the horrors of the concentration camps. He always maintained
gained fame and popularity before world events intervened. Displaying
he did this more as a soldier than an artist. After returning to New York
an impressive sense of timing, the Brun Fine Art Gallery in London has
he remained there until 1948, an experience that transformed his view of
dedicated a solo show to Cagli, featuring over 50 works. Corrado Cagli
art. The two exhibitions seem to confirm the new attention being paid to
from Rome to New York, curated by Alberto Mazzacchera (until 28 April),
the art of the inter-war years. The exhibition Realismo Magico (Magical
retraces Cagli’s unusual artistic development, with an emphasis on two
Realism. Enchantment in Italian painting of the 1920s and 30s) now
particularly important periods in his eclectic progress – the Scuola Romana
drawing to a close at the Mart (Museo di Arte Moderna e Contemporanea
of the 1920s and 30s, and the informal works of the 1940s and 50s. Born
di Trento e Rovereto), the show’s first venue before moving on to the
in Ancona, Corrado Cagli (1910-1976) moved to Rome with his family
Ateneum Art Museum in Helsinki and the Folkwang Museum in Essen,
when he was still young. His output ranged from sculpture to murals – at
provides a view of the preceding period, highlighting the classic paintings
which he excelled, showing great skill in covering large surfaces with no
of early 20th-century Italian art. September 22 will see the opening of an ©ALBERTO SAVINIO BY SIAE 2018
©CARLO CARRÀ BY SIAE 2018
by Corrado Cagli in Buchenwald in 1945 when he was one of the American
Top, Giacomo Balla, Canaringatti – Gatti futuristi, 1923-1924 (Courtesy GAM, Bologna/Milano). Left, Alberto Savinio, Les Atlantes, 1931 (ED Gallery, Piacenza, Foto Sergio Amici). Above, Carlo Carrà, Il bersaglio, 1928 (Studio Fotografico Luca Carrà)
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show at the Brun Fine Art Gallery in London. Right, Il Buglione, 1971, signed lower left. Middle, Aniconic Composition, 1955, wax pastels on canvassed paper.
IMAGES COURTESY OF ARCHIVIO CORRADO CAGLI AND BRUN FINE ART
Below, Fantastic Course, 1951, oil on canvassed paper
IMAGES COURTESY OF ARCHIVIO CORRADO CAGLI AND BRUN FINE ART
This page, three post-war works by Corrado Cagli, on
at auction, while others merit reassessment. One example is the success obtained by Mario Sironi, now in the spotlight after decades of ostracism. The results at some auctions for works – even if minor - by such a major figure now seem unfeasible, with a few being knocked
Italian art between the wars, held at the Mart and Milan’s Museo del
down at minimal sums or remaining unsold (for example, a “Composizione”,
Novecento di Milano, accompanied by many masterpieces by the artists
mixed techniques 20.5x50.5 cm) went for 1,300 euro (Pandolfini Casa d’Aste
mentioned above. Reflecting a growing interest in this artistic period,
4/12/2017) or a Ragazza (49.5x 34.5 cm painting oil/paper/canvas) was sold
it offers one more reason to rediscover and pay more attention to the
for only 14,000 euro - Farsetti 2/12/2017). Even the more significant sums
individual artists. Works by some of these artists have fetched large sums
are only relatively high.
IMAGES COURTESY OF ARCHIVIO CORRADO CAGLI AND BRUN FINE ART
exhibition focussing on Margherita Sarfatti, journalist and supporter of
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