“From here, the Futurist Movement launches its challenge in the moonlight shimmering on the canal.” We are at Via Senato, not far from the headquarters of the giants of the fashion world, but it is the irreverent spirit of the Futurists we find along with the plaque affixed to house number “2” here - the home of Filippo Tommaso Marinetti, the guru of Italy’s avant-garde who launched his revolutionary plans in this very building. Milan has a special tie with Futurism - the dynamism of this modern metropolis held an irresistible appeal to Marinetti and his comrades. And the movement left its traces in numerous parts of the city. On Corso Venezia, for example, the Casa Museo Boschi Di Stefano is not merely a treasure trove of artistic masterpieces. In the early years of the XX Century, artists gathered in this historic abode to discuss poetry, art and politics, the evening often ending in brawls. Today, the Casa Museo is an unforgettable stop for getting to know the painting of the 1900s - throughout eleven rooms, there are 300 of the collection’s two-thousand paintings, sculptures and drawings on display, all the effort of the collecting couple of Antonio and Marieda Boschi Di Stefano, a prominent fixture in Italy’s art history. The adventure continues at the Museo del Novecento, which holds the largest collection of works by Umberto Boccioni in the world. Along with iconic pieces such as Elasticità and Forme Uniche della Continuità nello Spazio, are masterpieces by Giacomo Balla, Fortunato Depero and Gino Severini.
Piero della Francesca's masterpiece reunited again
In a unique and unrepeatable exhibition, a masterpiece by Piero della Francesca is presented for the first time in history, 555 years after its creation: the Augustinian Polyptych.
If the complexity of the approach to sculpture is indisputable, the factor that makes Pino Pascali's artistic practice so brilliant and original is another. Pascali is an artist who is always current because he was an "exhibitionist".
Picasso did not consider the art that inspired him, which moved his creative mind in an unstoppable desire to open new paths, as "primitive", he did not see a "before" and an "after" in art, there was no "other", "different" art: Picasso conceived it as a timeless Whole.
The exhibition reflects on the traditional concept of the vitrine and its centrality in exhibition projects. In relation to the "classical museum display", the display case separates and at the same time exposes the object, offering it for viewing, but creating a barrier for the viewer.