Eight hectares of monumental trees along with stunning flowers and plant-life surround an art collection that spans several centuries. Where else but Villa Carlotta, the historic abode overlooking Lake Como. It’s no surprise that Britain’s famed newspaper The Telegraph listed it as one of the reasons to travel to Italy after the pandemia - since the 1600s, the prestigious residence of Tremezzo has been a dream of beauty caressing the senses. Without the Clerici family of Milan it would not exist, but it was an official in service to Napoleon, Giovanni Battista Sommariva, who really embellished it with magnificent works of art. Its name comes from Princess Carlotta of Prussia who was given the villa as a wedding gift when she married the Grand Duke Georg II of Saxony. It is considered one of Italy’s most beautiful parks - a kingdom of camellias and azaleas, rhododendrons and roses, citrus fruit and centuries-old trees. Here, every stroll is a botanical journey around the world and a glimpse at the history of Europe’s gardens - there is an Italian section, a romantic section, a rock garden, a tropical garden, all to be discovered along with the cool valley of ferns, the olive grove or the vegetable garden, cultivated as early as the 1800s. Inside the villa, pastel walls, stucco mouldings and precious furnishings are the backdrop to treasures like The Last Kiss of Romeo and Juliet by Francesco Hayez, the Frieze of Alexander the Great by Bertel Thorvaldsen, as well as the Palamede and the Musa Tersicore by Antonio Canova.
The complex creative process that precedes the making of a film by exploring storyboards and other materials such as moodboards, drawings and sketches, scrapbooks and notebooks, annotated scripts and photographs. Over a thousand elements created between 1930 and 2024 by more than 50 authors including directors, directors of photography, artists.
The Surprise of the Contemporary: A Tribute to Rauschenberg
On the centenary of Rauschenberg’s birth, Gallerie d’Italia – Milan presents 60 works, including his iconic assemblages and pieces by Klein, Fontana, Manzoni, Serra, and others, tracing the artistic revolution of the 1960s.
On display are ten large-scale paintings from the NADA series, created between 1999 and 2025. The first works in this series were born from the artist’s explicit desire to erase the image of the crucifixion in an attempt to experiment, to use Thierry De Cordier’s words, with the “greatness of nothingness”.
