(Italiano) Poggio a Caiano: stanza del Novecento, nuova esposizione al Museo Soffici
by Simone Focardi – At the Soffici Museum of Italian 900 opens a new exhibition , the Room of the twentieth century , waiting for the big show that next year will be dedicated to Soffici on the occasion of the 50th anniversary of his death .
After the exhibition dedicated to the magazine LACERBA , the Department of Culture of the Municipality of Poggio a Caiano proposes a new exhibition at the Museum of Italian 900 and Soffici , the “Room of the twentieth century ” , from 9 November 2013-26 January 2014.
An event that is a prelude to next year’s show , made in the Museum on the occasion of the 50th anniversary of the death of Soffici , entitled Days of Landscape, which will be exhibited in fifty works by the artist on the theme of landscape .
The Room of the twentieth century , edited by Luigi Luigi Cavallo and Corsetti, organized with the support of the Cooperative Credit Association of Prato Area , is the first in a series of exhibitions under the same title will present every year the works of Italian artists of the twentieth century , connected more or less directly to the figure of Soffici , to critical acclaim , the meetings, the findings in different areas of our country. In this first brief overview displays works , one for each artist , Felice Carena , Carlo Carra, Felice Casorati , Giorgio de Chirico, Tullio Garbari , Giorgio Morandi, Filippo de Pisis , Ottone Rosai , Gino Severini , Mario Sironi, Armando Spadini and Lorenzo Viani .
The exhibition Giuditta e Oloferne (1935) by Felice Carena, Case sul lago (1927 ) by Carlo Carra, bozzetto per natura morta con l’uva (1931) by Felice Casorati , Cavallo ( 1938-1939 ) by Giorgio De Chirico, composizione mitologica (1930) Tullio Garbati , Cortile di Via Fondazza (1954 ) by Giorgio Morandi, ritratto maschile(1941) by Filippo de Pisis le casacce (1922) by Ottone Rosai , la fillette au lapin (1922) by Gino Severini , ritratto dello scultore Giacomo Manzu (1940 ) by Mario Sironi, studio di tacchini ( 1918) Armando Spadini e ritratto del filosofo Brissimisakis (1917 ) by Lorenzo Viani .
These are artists who, like Luigi Cavallo wrote in the presentation: ” … they did not put the seals in their teens , but they tried to project as conceived in future seasons , with an order that is not really a recall and a back, forward projection so that their teachings , tested with images , tested down to the bottom of the soul, between dubitazioni , human difficulties and language, could result in the generations to come a competition that most other philosophical content and substance of intimate expression, spiritual , without forgetting what is the territory where they were born and the history of humanity that have marked the destiny of Italian . “
How fruitful the painting and sculpture of the twentieth century Italian , without bias compared with that of Europe, is evidence that can not be confused with an area of competition : the expressions of Sironi and de Chirico, Morandi, Severini and involve a world that has earned elected a chapter in art history. Casorati and de Pisis seem to opposite poles of rationality and sudden lyrical tones and sound like the two ends of the large keyboard art . Spadini , who was close friend of Soft and began to party an excellent Italian version of the impressionist lights , competes with Carra to instruct a solid presence in the true nature of the true human being. Garbari and Rosai, different views , different cultural areas , however, were gathered from Plush in a early indication as ever , as data coming , safe talents ( ” La peinture italienne d’aujourd’hui ,” The Vraie Italie, Florence, May 1920 ) . The turbulent Viani is the opposite of course Bottom , one fed from the beginning instincts anarchists , the other inspired socialist humanitarianism , then each worked in his own academy with the results that we can better appreciate focused on a distant prospect .