Milan, the Museo del Novecento celebrates the painting of Mario Sironi

Milan, the Museo del Novecento celebrates the painting of Mario Sironi
Milan, the Museo del Novecento celebrates the painting of Mario Sironi
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Milan, 22 July (askanews) – The exhibition “Mario Sironi. Synthesis and grandeur” opens to the public from tomorrow in the exhibition spaces of the Museo del Novecento, a large and in-depth retrospective that retraces the artist’s work sixty years after his death. The exhibition, scheduled from 23 July 2021 to 27 March 2022, is curated by Elena Pontiggia and Anna Maria Montaldo, director of the Museo del Novecento, in collaboration with Andrea Sironi-Strausswald (Mario Sironi Association, Milan) and Romana Sironi (Archivio Mario Sironi by Romana Sironi, Rome).

Over one hundred works on display, which reconstruct the artist’s entire artistic path: from the youthful symbolist season to adherence to futurism; from his original interpretation of metaphysics in 1919 to the classical moment of the Italian twentieth century; from the expressionist crisis of 1929-30 to the monumental painting of the 1930s; until the second post-war period and the Apocalypse painted shortly before his death. An original scientific project capable of restoring an unprecedented reading of the artist’s work and human life.

“The Museo del Novecento continues with its research work on Italian authors of the twentieth century with an artist who, like few others, was able to live the spirit of our city, continuing to innovate style and languages ​​- declared the Councilor for Culture Filippo Del Corno -. And it is this attitude to the continuous renewal of an artistic figure of Sironi, who was able to become an emblematic interpreter of the plurality of expressive experiences that animated the early twentieth century in Italy “.

The exhibition also includes the “Sironiane” rooms of the Museum itself and of the Boschi Di Stefano House Museum, and makes use of loans from major Italian museums, including the Pinacoteca di Brera, Ca ‘Pesaro and the Guggenheim Foundation in Venice, the MART of Trento and Rovereto and from private collections, thus bringing together the most significant works of the Master in a single context. In fact, some masterpieces that had not appeared in a Sironi anthology for almost half a century are exhibited (the fascinating “Pandora”, 1921-1922; “Paese nella valle”, 1928; “Case e Alberi”, 1929; “L ‘watered’, 1929-30), and others still completely unpublished.

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Widely represented in the exhibition is the cycle of urban landscapes, Sironi’s most famous theme, which acquires intensity after his arrival in Milan in 1919 and expresses both the drama of the modern city and a powerful will to build, in every sense. Among these are well-known masterpieces such as “Synthesis of urban landscape”, 1921; “The Cathedral”, 1921; “Urban landscape with the tram” 1925-28, from the Museo del Novecento, exhibited at the 1928 Venice Biennale; the “Periferia” of 1943.

But Sironi was also a great interpreter of the human figure. A large group of works testify to this in the exhibition, including the Pierfrancescano “Nudo” from 1923, a favorite of Margherita Sarfatti; the mysterious “Woman with a vase” from 1924; the “Fisherman”, 1925; “The fairy of the mountain”, 1928; the “Niobide” of 1931, and the painful “Lazzaro” (1946) where, for the first time in the millenary iconography of the subject, Sironi paints a Lazarus who does not rise again, symbol of the collapse of all his ideas, starting with the fascist one he had believed in.

Ample space is then dedicated to his connection with mural painting in the Thirties, of which he was a theorist and interpreter. There are monumental masterpieces such as the luminous “Vittoria alata”, the gigantic study for the main hall of the Sapienza in Rome, the visionary “Condottiero on horseback” (all made in 1935) and the powerful preparatory study, almost six meters long, of the ” Corporate Justice “(1937-38).

Leaving behind the section dedicated to mural painting, the “journey” in Sironi’s art comes to an end in the last rooms that document the dramatic final years of the artist, also tormented by the loss of his daughter Rossana, who takes her own life in 1948 at eighteen. To accompany the exhibition, a prestigious catalog created by the Ilisso Publishing House. The volume, in addition to the introductory essay by Anna Maria Montaldo, contains an extensive essay and analytical sheets of all the works edited by Elena Pontiggia, a scholar of the artist and author of her first biography (“Sironi. The greatness of art, the tragedies of history “, 2015); in addition, Fabio Benzi’s insights into Sironian futurism and Maria Fratelli, director of the Boschi Di Stefano House Museum, who explores Sironi’s relationship with collectors Antonio and Marieda Boschi with inedited letters.

“Mario Sironi. Synthesis and grandeur” is part of “La Bella Estate”, the summer cultural program promoted by the Municipality of Milan which, until 21 September, will offer the Milanese and visitors to the city a rich calendar of artistic and cultural initiatives, sports, recreation and free time

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