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1Modern Italian Art, 1850-2012

Professor Barbara Buenger - Spring 2013 (T-Th, 11-12-:15)

Art History Website for Course Materials:

Italian museums & exhibitions site:

Italian sculpture site:
The course is designed to introduce you to a broad span of modern Italian art history in its historical, cultural, and social contexts. Although the primary emphasis is on Italian painting, sculpture, architecture, design, and decorative arts, we will also consider Italy's position within the larger international history of modern art, particularly as Italians responded to, acquired, and mounted major shows of international art from the turn of the century on. I will cover major figures and movements with an eye to their national and international connections: from the 19th-century movements of the Macchiaioli, realism, and Liberty Style to pre-World War I divisionism, symbolism, and futurism; interwar Scuola Metafisica, Novecento, Second Futurism, fascist, and other kinds of figural art; postwar neo-realist and figural styles; modern Italian design; and abstraction, minimalia, informel, arte povera, and transavanguardia from the 1960s to the present.
The goal is for you to learn to see, analyze, and understand the works of art, and to articulate how their complexities of form and meaning are related to the time and place in which they were produced. To this end, I will give much importance to learning to look. Another aim is to practice critical reading of primary and secondary sources as you write short responses to specific issues or questions raised in class, prepare for the mid-term examination, and develop the final research proposal/paper required of all students.
REQUIRED TEXTS (search for these and other out-of-print books at or

Course Reader (at Bob’s Copy Shop, 616 University Avenue only)

Braun, ed., Italian Art of the 20th-Century

Apollonio, Futurist Manifestoes

Olson, Ottocento

Tisdall and Bozzola, Futurism


Affron & Antliff, eds., Fascist Visions

Barnet, A Short Guide to Writing About Art

Duggan, A Concise History of Italy

Pinto, History of Italian Art in the 20th Century

Poggi Inventing Futurism


1. Participation and short assignments 10%

2. Journals & other responses 10%

2. One précis of an article, 2-3 pages 10%

3. One quiz 30%

4. Research proposal, 5-6 (paper 8-15) pages 40%

Class Participation: You are expected to attend all lectures, complete all short written responses and join regularly as a discussant and a presenter in class and in discussions opened under the “communication” section at learn@uw. This includes responses or reactions to readings, works of art, The Leopard, and other issues raised in class. You will also join in groups to make oral presentations of some of the Futurist manifestoes. 10% of your grade will be based on your class participation.

Exam: One eight-week slide-essay exam (3/12) will account for 30% of an undergraduate’s grade (not required but strongly recommended for graduate students). This essay exam includes slide comparison, attribution, and short answer responses. No final examination will be given.
Journals: Graduate students will write weekly electronic journals (ca. 300 words each) that respond to themes of the readings or lectures and will be taken as the basis for class discussion (due each Monday, week 3-8 in drop box for this course at Learn@UW); undergraduates will write three of the same (ca. 150 words each) from week 9 until the end of the semester. Though these will be ungraded, they will be taken seriously; responses that show little engagement will receive less than full credit. 10%
Research Proposal and Papers: Graduate students, art history majors, and students taking the course for honors credit must complete the project to produce finished, 8-15-page papers with footnotes and bibliography; other are required only to polish the 5-6 page proposal and bibliography to a more finished stage. Each stage of your research project – topic identification & proposal, research questions, polished draft, and final version – must be accompanied by illustrations (or drawings) of your work and by your bibliography to date. We will discuss topics, how to research them, and approach in class and in conferences. All papers are to be typed double-spaced with proper footnote/endnote and bibliography following Chicago Style Format; all pertinent details of forms and advice on procedure are elaborated upon in Sylvan Barnet's Short Guide to Writing About Art and on the Writing Center Website. 50%
Modern Italian Art, 1850-2012- Prof. Buenger - Spring 2013

1/22 Introduction: Art of the Ottocento

1/24 Risorgimento
1/29 The Macchiaioli

1/31 The Macchiaioli as Painters of Florence

2/5 Italian Art at the Turn of the Century)

2/7 Print Room Visits

2/12 Medardo Rosso and the Transitory in Italian Symbolism

2/14 Movie: The Leopard

2/19 Symbolism, Divisionism, Stile Liberty

2/21 Divisionism/Stile Liberty

2/26 Futurism: Manifestoes & Development/

2/28 Futurist Figuration & Abstraction

3/5 The Spread of Futurism: Design, Photography, Architecture

3/7 The Spread of Futurism

3/12 Eight-Week Exam

3/14 Modigliani

3/19 Scuola Metafisica

3/21 Novecento/Fascism and Tradition

4/2 The Return to the Classical/Morandi

4/4 Fascism and Tradition/Rationalism

4/9 Second Futurism/Scuola Romana

4/11 Mussolini’s New Italy /World War II

4/16 Italian Metamorphosis/Abstraction

4/18 Postwar Figuration/Marini

4/23 The New Design

4/25 New Figuration and Abstraction

4/30 Informel/Provocation/

5/2 Arte Povera

5/7 Arte Povera

5/9 Transavanguardia & Contemporary

* Roberta Olson’s Ottocento carries excellent entries on works discussed in the first part of the course; Sandra Pinto’s History of Italian Art is a catalogue of Rome’s GNAM with good entries on individual works. Read both in conjunction with the works discussed in class throughout the semester;
1. Week of 1/21 – Introduction: Art of the Ottocento

Duggan: 87-116

Olson: 13-25, 43-50
2. Week of 1/28 – Risorgimento/I Macchiaioli

Duggan: 117-142

Olson: 25-36, 65-74

Reader: Boime, Di Piero

3. Week of 2/4 – Italian Art at the Turn of the Century

Braun: 11-47

Olson: 36—40, 75-87,

Duggan: 143-170

Reader: Boime, Braun, Broude, Fattori, Cecioni, Martelli
4. Week of 2/11 – Medardo Rosso/Symbolism

Braun: 49-56

Olson: 88-95

Reader: Rosso, Kaplan, , Poggi, Futurist Manifestoes

5. Week of 2/18 – Symbolism/Futurism

Apollonio: Entire book

Duggan: 171-204

Reader: Antliff, Futurist Manifestoes, Poggi

Tisdall: entire book


6. Week of 2/25 – Futurism

Apollonio: entire book

Reader: Antliff, Poggi

Tisdall: entire book

7. Week of 3/4 – The Spread of Futurism

Reader: Antliff, Poggi

Tisdall: entire book
8. Week of 3/11 – Eight Week Exam/Modigliani

Braun: 57-70, 148-154

Reader: Adamson, Nochlin, De Chirico & Carrà, Morandi

Tisdall: entire book

9. Week of 3/18 – Scuola Metafisica/Novecento/Fascism & Tradition

Braun: 71-80, 155-164

Duggan: 205-239

Reader: Braun, Manifesto of Mural Painting, Nochlin, Pratolini

10. Week of 4/1 – Return to the Classical/Rationalism

Braun: 165-186

Duggan: 205-239

Reader: Braun (PR)

11. Week of 4/8 – Second Futurism/Scuola Romana/World War II

Braun: 187-192

Duggan: 240-194

Reader: Manifestoes, Marini, Sparke

12. Week of 4/15 – Italaian Metamorphosis/Postwar Abstraction & Figuration

Braun: 273-287

Duggan: 241-294

Reader: Vertrocq

13. Week of 4/22 – The New Design/New Figuration and Abstraction

Braun: 289-307

Reader: Manifestoes, Rubinstein, Silk, Superstudio
14. Week of 4/29 – Informel/Arte Povera

Braun: 359-375

Reader: Ratcliff, Vetrocq
15. Week of 5/6 – Transavanguardia/Contemporary

Art History 408, Spring 2013

Guidelines for Research Proposals (5-6 pages) and Papers (8-15 pages)
The assignment requires you to identify an artist and work/s on which you want to write, pose a question about them, and analyze and use the best scholarship as you propose a way to answer your question. Undergraduate art history majors and graduate students are required to complete the research paper. You should choose a subject as early as possible: on 2/21 you are to submit an initial proposal of your topic, on 3/7 an initial, annotated list of at least five (5) good scholarly books and articles; on 4/4 an initial draft of your research proposal. On 4/11 your Learn@UW article response should be an analysis of one of the best articles related to your subject (instructions on course website).

  1. All papers should be submitted double-space (size 12 font), with pages numbered, to the drop box at Learn@UW by the due date. Keep a copy of everything you write for this and all your classes, now and well-after you graduate.

  1. The final research proposal/paper must contain properly labeled and numbered illustrations, footnotes, and bibliography in the Chicago Manual of Style format. Information on this and on all aspects of the form and preparation of a research paper can be found at the UW Writing Center web site ( and in Sylvan Barnet, A Short Guide to Writing About Art (available in the Kohler Art Library and on sale in the University Book Store).

  1. We will discuss the papers at different stages in class, but you should feel free to meet or email me with questions as you progress; the reference librarian, Linda Duychak, is also available to help you with your research..

  1. The chief places to start research are: 1) Grove Dictionary of Art [Oxford Art online]; 2) systematic catalogues of your artist’s works [catalogues raisonnés, exhibition catalogues, Kataloge, or Verzeichnisse]; 3) writings or statements by your artist [look for texts in catalogues and anthologies of artists’ writings such as Washton-Long]; 4) Madcat and Worldcat listings of books; 5) Artbibliographies Modern, Art Index Retrospective and other online indices of periodical literature.

  1. Final papers should be clear, imaginative, and bold to articulate a thesis and theory and should incorporate as much original source material as possible to support your ideas. Use foreign languages and other skills to the greatest extent possible.

  1. I will judge papers and proposals by considering the quality of your questions and reasoning, and the thoroughness and cohesion with which you bring things together.

Your proposal should:
1) Present a thesis: You have selected a certain artist, work or group of works, or theme. Review what you have seen and begun to read in materials we have already used in class. Pose a question or two about your subject and try to frame an argument that you can sharpen into a thesis. E.g. The frequent representations of madness in early 20th-century Italian art can be shown to reflect current social and scientific interest in treatment of the mentally ill (see Poggi’s article in the course reader).
2) Establish a context: The works you discuss were produced at a certain moment in this artist’s career and at a certain moment in modern Italian art history. Why are they representative of the contemporary style, development, and subjects of that artist – including those elements that are specific only to your artist and works – and how do they compare to a wider artistic field?
3) Discuss the importance of your topic: How will your exploration add to an understanding of your artist and work? Does this subject deserve more treatment than it has received in the past; might it be approached in a different way? Be ambitious and imaginative.
4) Discuss your methods: How have you conducted your research and how will you continue? What questions remain to be asked? Which images, written sources, and writings or statements by your artist will help you make your case? What is your critical or theoretical approach to your subject?
5) Include a list of at least crucial ten books and substantial scholarly journal articles with short annotations that indicate why they are useful and important. Use the Grove Dictionary of Art [Oxford Art online] to get started, but also use books and articles in academic journals or scholarly catalogues. You are expected to identify, study, and understand the best sources available. Although you will retrieve many of these through online sources such as JStor, they will generally not come from on-line resources.

How do you determine if a contribution is good? Look for detailed discussions of subjects rather than just passing references, and read reviews of the books you use and on your subject. Peer-reviewed books and articles published by university presses and academic journals will generally be more useful than those published by trade publishers or catchy news articles. Older scholarship can still be golden, but new contributions continually revise understanding and must be heeded. Google authosr and read their cvs: is s/he he a professional in the field who has published widely on the subject?

N.B. Plagiarism Policy:
Plagiarism is passing off other people’s ideas or words as your own, copying all or parts of someone else’s work, havin g another person complete your assignment, or fialing to document accurately the use of source material. Plagiarism – whether intentional or accidental – is wrong and subject to penalty. The minimum for intentional plagiarism is a zero on the assignment; the maximum is dismissal from the college.” UWS, Regulating Academic Misconduct

Starting Research on Art Historical Topics

Prepared by Linda Duychak, Kohler Art Research Librarian
Go immediately to the Kohler Art Library Web Site to check out the resources available there:

Encyclopedias/biographical dictionaries:

(hint: look for bibliographies after the entries):

The Oxford/Grove Dictionary of Art: online make sure to use index and related articles as well)

The Encyclopedia of World Art (in the library reference section)

Thieme-Becker; Vollmer; AKM; Benezit; Havlice; etc. (necessary for most topics)
For excellent images beyond those on the department website, use:

Artstor – available to all of you through the library portal
Using MadCat or other library catalogues on-line to identify useful resources:

Make use of Library of Congress subject headings. Browse for likely subjects. Look at the "See Also" hints for additional LC headings (e.g. Vienna workshop).

Use the course bibliography as a guide to call up library records for particularly useful books and then find others that have been assigned the same LC heading(s).
You can always construct specific keyword searches to focus on your selected area of interest. Use synonyms for the concepts you are trying to isolate. Use AND, OR, NOT to combine concepts. If you retrieve many citations, display the full computer records to look for additional indicators of size/content. How many pages? Does it have a bibliography? Is it an exhibit catalogue associated with a major museum? Does it appear to be a catalogue raisonné or "complete works" of your artist?
Good on-line databases for periodicals include:

Art Abstracts/Art Index Retrospective (widest range of times/paces, 1929+)

Bibliography of the History of Art (European & American art only): the predecessor to BHA was in part the Repertoire d'Art, available for searching in paper volumes for the years 1910 until inception of on-line BHA in 1974.

ARTbibliographies Modern (contemporary art, history of photography since inception)

Search for your topic in these indexes to identify which articles or resources exist. Then search to determine whether you can locate these in Madison or through interlibrary-loan.
Other useful indexes:

Design and Applied Arts Index

Historical Abstracts (excludes American history)

Avery Index to Architectural Periodicals

N6923 M6 A84 2004 Abramowicz GIORGIO MORANDI
N8846 F8 F3 1997 Affron/ FASCIST VISIONS


NX552 A1 B46 1997 Bentivoglio WOMEN ARTISTS OF FUTURISM
NB1803 +18 +B47 2004 Berresford ITALIAN MEMORIAL SCULPTURE
N69918 I83 1989 Braun ITALIAN ART 20TH CENTURY
N6923 S53 B73 2000 ----- MARIO SIRONI
DS135 E83 J58 2005 -----/Bilski JEWISH WOMEN AND THEIR SALONS
ND617.5 M3 B7 1987 Broude THE MACCHIAIOLI
N6918 I755 1989 Celant ITALIAN ART, 1900-1945
6918.5 A73 A78 1999 Christov- ARTE POVERA


N6923 B587 A4 1988 Coen BOCCIONI
NB623 R8 A4 2003 Cooper MEDARDO ROSSO
ND623 M687A4 2001 DeSalvo/Gale GIORGIO MORANDI
NK775.5 A7 A785 2000 Greenhalgh ART NOUVEAU
N6490 A7167 2003 Harrison/ ART IN THEORY 1890-2000

NC998 618 H46 1993 Heller ITALIAN ART DECO

NX600 F8 H84413 1986 Hulten FUTURISM & FUTURISMS
NX552 A1 H86 1999 Humphreys FUTURISM
+ND623 +M67 A4 2004 Klein MODIGLIANI

NX456.5 F8 P64 2001 Lista FUTURISM & PHOTOGRAPHY
TX723 M32913 1989 Marinetti FUTURIST COOKBOOK
PQ4829 A78 A255 2002 _________ SELECTED POEMS/PROSE


NA2707 S28 M48 1995 Meyer WORK/ANTONIO SANT'ELIA
ND617.5 R6 048 1992 Olson OTTOCENTO
NX600 F8 P46 1986 Perloff THE FUTURIST MOMENT
N6917 I78 2000 Piantoni/ ITALIE 1880-1910. ARTE ALLA PROVA DELLA


N6918 S8613 2002 Pinto HISTORY OF ITALIAN ART
NX456.5 F8 P64 2009 ____ INVENTING FUTURISM
+NX454.5 +F8 A4 2004 Rossi BOCCIONI'S MATERIA
N6923 C5 D42 Rubin DE CHIRICO
N6903 K68 A4 2008 Schneider JANNIS KOUNELLIS
N5020 N49 G84 2010 Silver CHAOS & CLASSICISM
N6490 S765 1996 Stiles/ THEORIES & DOCUMENTS


+ND623 +S4 A4 1999 Stucker GIOVANNI SEGANTINI
+N6923 +C5 A4 2002 Taylor DE CHIRICO/ARIADNE
NX600 F8 T57 Tisdall FUTURISM

NB617 W37 1997 Wardropper CHISELED WITH A BRUSH

NK1452 A1 W45 1998 Weisberg STILE FLOREALE

Art in Italy, 1850-2006 - Bibliography

Baránski, Zygmunt G. and Rebecca J. West, The Cambridge Companion to Modern Italian Culture. Cambridge: Cambridge University Press, 2001.

Barnet, Sylvan. A Short Guide to Writing About Art. 6th ed. New York: Harper Collins, 1999.

Duggan, Christopher. A Concise History of Italy. Cambridge: Cambridge University Press, 1994.

Hall, James. Dictionary of Signs and Symbols in Art. New York: Harper & Row, 1974.

Osborne, Harold, ed. Oxford Companion to 20th-Century Art. Oxford: Oxford University Press, 1984.

Turner, Jane, ed. The Grove Dictionary of Art. New York: Grove's Dictionaries, 1996-97 (online)
Source Readings:

Apollonio, Umbro. Futurist Manifestoes. New York: Viking, 1970.

Chipp, Herschel B. Theories of Modern Art. Berkeley: University of California, 1968.

Harrison, Charles and Paul Wood, eds. Art in Theory. 1850-1900. Oxford: Blackwell, 1998.

________. Art in Theory. 1900-1990. Oxford: Blackwell, 1992.

Nochlin, Linda. Impressionism and Post-Impressionism 1874-1904. Englewood Cliffs (NJ): Prentice- Hall, 1966.

________. Realism and Tradition in Art 1848-1900. Englewood Cliffs: Prentice-Hall, 1966.

Stiles, Christine and Peter Selz, eds. Theories and Documents of Contemporary Art. Berkeley: University of California Press, 1996.

General Surveys of Modern Art History:

Arnason, H.H. and Marla Prather, History of Modern Art. 4th ed. Englewood Cliffs (NJ) and New York: Prentice-Hall and Harry N. Abrams, 1998.

Fineberg, Jonathan. Art Since 1940. Strategies of Being. Englewood Cliffs: Prentice Hall, 1995.

Hamilton, George Heard. Painting and Sculpture in Europe, 1880-1940. Baltimore: Penguin, 1985.

Harrison, Fer, Frascina, Wood, et al., Modern Art. Practices and Debates. 4 vols. New Haven and London: Yale University Press & Open University, 1993-1995.

Hoffman, Katherine. Explorations. The Visual Arts since 1945. New York: Harper Collins, 1991.

Janson, H.W. 19th-Century Sculpture. New York: Harry Abrams, 1985.

Rosenblum, Robert and H.W. Janson. 19th-Century Art. Englewood Cliffs (NJ) and New York: Prentice Hall & Harry N. Abrams, 1984.

Sandler, Irving. Art of the Postmodern Era. Boulder: Westview Press, 1998.
Italian Art before and After the Risorgimento, 1812-1900:

Berresford, Sandra. Italian Memorial Sculpture, 1820-1940. London: Frances Lincoln, 2004.

Boime, Albert. The Art of the Macchia and the Risorgimento. Representing Culture and Nationalism in Nineteenth-Century Italy. Chicago: University of Chicago Press, 1993.

Bossaglia, Rossana. Gli orientalisti italiani. Cento anni di esotismo 1830-1940. Venice: Marsilio, 1998.

Broude, Norma. The Macchiaioli. Italian Painters of the Nineteenth Century. New Haven and London: Yale University Press, 1987.

-------------------, ed. World Impressionism: The International Movement, 1860-1920. New York: Harry N. Abrams, 1994.

Greenhalgh, Paul. Art Nouveau. London and Washington, D.C.: Victoria & Albert and National Gallery of Art, 2000.

Johns, Christopher M.S. Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe. Berkeley: University of California Press, 1998.

Mann, Vivian B., ed. Gardens and Ghettos. The Art of Jewish Life in Italy. Berkeley: University of California Press, 1989.

Olson, Roberta J.M. Ottocento. Romanticism and Revolution in 19th-Century Italian Painting. New York and

Florence: American Federation of Arts and Centro Di, 1993.

Pavoni, Rsanna, ed. Reviving the Renaissance. Cambridge: Cambridge University Press, 1997.

Piantoni, and Pingeot. Italie 1880-1910. Arte alla prova della modernità. Rome and Paris, 2000.

Post-Impressionism. Cross-Currents in European Painting. London: Royal Academy of Arts, 1979.

Stutzer, Beat and Roland Wäspe. Giovanni Segantini. Ostfildern: Hatje Cantz, 1993.

Tonelli, Edith and Katherine Hart. The Macchiaioli. Painters of Modern Life. Los Angeles: Frederick S. Wight Gallery, UCLA, 1986.

Weisberg, Gabriel P. Stile Floreale: The Cult of Nature in Italian Design. Miami: Wolfsonian Foundation, 1988.

Museum Catalogues of Modern Italian Art Collections:

Civico Museo d'Arte Contemporanea. Milan: Electa, 1994.

Colombo, Davide. Guide to the GNAM. Rome: Electa, 2004.

Di Majo, Elena and Matteo Lafranconi. GNAM. Le Collezionie II: XIX secolo. Rome: Electa, 2006.

Masterpieces from the Gianni Mattioli Collection. New York: Guggenheim Museum, 1997.

Masterpieces from the Peggy Guggenheim Collection. New York: Guggenheim Museum, 1996.

Pinto, Sandra and Gianna Piantoni. Galleria Nazionale d'Arte Moderna. Rome: SACS, 1997.

, GNAM. Le Collezioni II. XX Secolo. Rome: Electa, 2005.

Museo Morandi. Complete Illustrated Catalogue. Milan: Silvana Editoriale, 2004.

Sarteanesi, Chiara. Fondazione Burri. Milan: Skira, 1999.

Sisi, Carlo. La Galleria d’Arte Moderna di Palazzo Pitti. Milan: Banca Toscana, 2005.

Ursino, Mario. Capolavori della Pittura Italiana. ‘800 e ‘900 nelle Collezione della GNAM. Rome: IGER, 1999.

20th-Century Architecture:

Borsi, Franco. The Monumental Era. European Architecture and Design 1929-1939. New York: Rizzoli, 1987.

Dal Co, Francesco. Storia dell'architettura italiana. Il secondo Novecento. Milan: Electa, 1997.

Denison, Edward et al., Asmara. Africa's Secret Modernist City. London & New York: Merrell, 2003.

Etlin, Richard A. Modernism in Italian Architecture, 1890-1940. Cambridge (MA) and London: MIT Press, 1991.

Los, Sergio. Carlo Scarpa. Cologne: Benedikt Taschen, 1994.

Meyer, Esther da Costa. The Work of Antonio Sant'Elia. New Haven: Yale University Press, 1995.

Petranzan, Margherita. Gae Aulenti. New York: Rizzoli, 1996.

Tafuri, Manfredo. History of Italian Architecture, 1944-1985. tr. Jessica Levine. Cambridge MA: MIT Press, 1990.

Italian Art in the 1900s-1940s:

Abramowic, Janet. Giorgio Morandi: The Art of Silence. New Haven: Yale University Press, 2004.

Adamson, Walter L. Avant-Garde Florence. From Modernism to Fascism. Cambridge, MA: Harvard University Press, 1993.

------------------------. Embattled Avant-Gardes. Berkeley: University of California Press, 2007.

Ades, Dawn. Art and Power. Europe under the Dictators 1930-1945. London: Thames & Hudson, 1995.

Affron, Matthew and Mark Antliff, eds. Fascist Visions. Art and Ideology in France and Italy. Princeton: Princeton University Press, 1997.

Antliff, Mark. Inventing Bergon. Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1993.

Belli, Gabriella. DeperoFuturista. Rome-Paris-New York. 1915-1932 and More. New York: Skira, 1999.

Bentivoglio, Mirella and Franca Zoccoli, Women Artists of Italian Futurism: Almost Lost to History:. New York: Midmarch Arts Press, 2000.

Boccioni 1912 Materia. Milan: Mazzotta Foundation, 1995.

Braun, Emily. De Chirico and America. New York: Hunter College,, 1996.

_____, ed. Italian Art in the 20th Century. Painting and Sculpture 1900-1988. Munich and London: Prestel and Royal Academy of Arts, 1989.

________. Mario Sironi and Italian Modernism. Art and Politics under Fascism. Cambridge: Cambridge University Press, 2000.

------------ and Emily Bilski, Jewish Women and Their Salons. New York: Yale University Press, 2005.

Cannistraro, Philip V. and Brian R. Sullivan, Il Duce's Other Woman. New York: William Morrow and Company, 1993.

Caroli, Falvio and Ada Masoero. Dalla Scapigliatura al Futurismo. exh. cat. Milan: Palazzo Reale, 2001.

Carrà, Massimo. Metaphysical Art. tr. Caroline Tisdall. New York: Praeger, 1971.

Celant, Germano and Pontus Hulten, Italian Art 1900-1945. New York: Rizzoli, 1989.

Chirico, Giorgio de. Hebdomeros. Cambridge: Exact Change, 1992.

Coen, Ester. Metafisica. exh. cat. Rome: Scuderie del Quirinale, 2003.

_____. Umberto Boccioni. New York: Metropolitan Museum, 1988.

Cooper, Harry and Sharon Hecker. Medardo Rosso. Second Impressions. New Haven and London: Yale University Press, 2004.

Cowling, Elizabeth and Jennifer Mundy. On Classic Ground. Picasso, Léger, de Chirico and the New Classicism 1910-1930. London: Tate Gallery, 1990.

Crispolti, Enrico. Futurismo 1909-1944. exh. cat. Rome: Palazzo delle Esposizioni, 2001.

_____. Il Futurismo Attraverso la Toscana. Livorno: Museo Civico G. Fattori, 2000.

De Salvo, Donna and Matthew Gale. Giorgio Morandi. London: Tate Modern, 2001.

Flood, Richard and Francis Morris. Zero to Infinity: Arte Povera 1962-1972. Minneapolis and London: Walker Art Center and Tate Modern, 2001.

Fraquelli, Simonetta. Gino Severini. From Futurism to Classicism. London: Hayward Gallery, 1999.

-------------------------, ed. Modigliani and his Models. London: Royal Academy, 2006.

Galileo Chini. Milan: Electa, 2006.

Ghirardo, Diane. Building New Communities. New Deal America and Fascist Italy. Princeton: Princeton University Press, 1989.

Hulten, Pontus. Futurism & Futurisms. New York: Abbeville, 1986.

Hunter, Sam. Marino Marini -- the Sculpture. New York: Abrams, c. 1993.

Futurismo. I Grandi Temi 1909-1944. Milan: Mazzotta Foundation, 1997.

Gentile, Emilio. The Sacralization of Politics in Fascist Italy. tr. Keith Botsford. Cambridge, MA: Harvard University Press, 1996.

Giorgio Morandi. San Francisco, New York, Des Moines: San Francisco Museum of Modern Art, Guggenheim Museum, Des Moines Art Center, 1981-1982.

Green, Christopher. Cubism and its Enemies. New Haven and London: Yale University Press, 1987.

Hanson, Anne Coffin. Severini futurista: 1912-1917. New Haven: Yale University Art Gallery, 1995.

Humphreys, Richard. Futurism. Cambridge: Cambridge University Press, 1999.

Jentsch, Ralph. The Artist and the Book in Twentieth-Century Italy. Turin: Umberto Allemandi & C., 1992.

Kirby, Michael. Futurist Performance. New York: Dutton, 1971.

Klein, Jason, ed. Modigliani. Beyond the Myth. New Haven: Yale University Press, 2004.

Kruszynski, Annette. Modigliani. Munich: Prestel, 1977.

Marchioni, Nadia. La Grande Guerra degli artisti. Florence: Museo Marino Marini, 2005-2006.

Margozzi, Mariasetta. Galileo Chini. La Primavera. Rome: GNAM, 2004.

Marinetti, Filippo Tommaso. The Futurist Cookbook. tr. Suzanne Brill. ed. Lesley Chamberlain. San Francisco: Bedford Arts, 1989.

_____. Let's Murder the Moonshine: Selected Writings. ed. R.W. Flint. Los Angeles: Sun and Moon Classics, 1972.

_____. Selected Poems and Related Prose. New Haven: Yale University Press, 2002.

Marino Marini. Catalogue Raisonné of the Sculptures New York: Skira, 1998.

Martin, Marianne W. Futurist Art and Theory 1909-1915. New York: Hacker, 1978.

McCready, Karen. Art Deco and Modernist Ceramics. New York: Thames and Hudson, 1995.

Mola, Paola, ed. Rosso: The Transient Form. Venice: Peggy Guggenheim Collection, 2007.

Perloff, Marjorie. The Futurist Moment. Avant-Garde, Avant Guerre, and the Language of Rupture. Chicago: University of Chicago Press, 1986.

Piantoni, Gianna and Anne Pingeot. Italie 1880-1910. exh. cat. Rome and Paris: Galleria Nazionale d'arte Moderna and Musée d'Orsay, 2000-2001.

Pinto, Sandra. A History of Italian Art in the 20th Century. New York: Rizzoli/Skira, 2002.

Poggi, Christine. In Defiance of Painting: Cubism, Futurism and the Invention of Collage. New Haven: Yale University Press, 1992.

Of Queens’ Gardens: The Myth of Florence. Livorno: Sillabe, 2004.

Les Realismes 1919-1939. Paris: Centre Georges Pompidou, 1981.

Rossi, Laura Mattioli. Materia: A Futurist Masterpiece. exh. cat. New York: Guggenheim Museum, 2004.

Rubin, William, ed. De Chirico. New York: Museum of Modern Art, 1982.

_____. "Primitivism" in 20th Century Art. 2 vols. New York: Museum of Modern Art, 1984.

Schmalenbach, Werner. Amedeo Modigliani. tr. David Britt. Munich: Prestel, 1990.

Severini, Gino. The Life of a Painter. The Autobiography of Gino Severini. trans. Jennifer Franchina. Princeton: Princeton University Press, 1995.

Silver, Kenneth E., ed. Chaos and Classicism. Art in France, Italy, and Germany 1918-1936. New York:

Guggenheim Museum, 2010.

Sparke, Penny. Design in Italy, 1870 to the Present. New York: Abbeville, 1988.

Stone, Marla. The Patron State: Culture & Politics in Fascist Italy. Princeton, NJ: Princeton University Press, 1998.

Strinati, Claudio. Manzù. l'Uomo e l'Artista. exh. cat. Rome: Palazzo Venezia, 2003.

Tisdall, Caroline and Angelo Bozzolla. Futurism. New York and Toronto: Oxford University Press, 1978.

Taylor, Michael R., Giogio de Chirico and the Myth of Ariadne. exh. cat. Philadelphia: Philadelphia Museum of Art, 2003.

Wilkin, Karen. Giorgio Morandi. New York: Rizzoli, 1997.

Art in the Post-World War II Period:

Albera, Giovanni and Nicolas Monti. Italian Modern. A Design Heritage. New York: Rizzoli, 1989.

Ambasz, Emilio. Italy: The New Domestic Landscape. New York and Florence: Museum of Modern Art and Centro Di, 1972.

Art in Arcadia. The Gori Collection, Celle. Turin: Umberto Allemandi & Co., 1994.

Calabrese, Omar. Italian Style. Forms of Creativity. New York: Skira, 1998.

Celant, Germano. Arte Povera. New York: Praeger, 1969.

________. Carla Accardi. New York: Rizzoli, 1999.

________. The European Iceberg. Creativity in Germany and Italy Today. New York: Rizzoli, 1985.

________, ed. The Italian Metamorphosis, 1943-1968. New York: Guggenheim Museum, 1994-95.

________. Piero Manzoni. Milan: Charta, 1998.

Christov-Bakargiev, Carolyn, ed. Arte Povera. London: Phaidon, 1999.

Del Re, Maria and Giò Marconi. Enrico Baj. The Garden of Delights. Milan: Fabbri, 1991.

Manzoni, Piero. Piero Manzoni. Paintings, Reliefs, and Objects. London: Tate Gallery, 1974.

Scarfini, Giuliano. Burri. The Measure and the Phenomenon. Milan, Charta, 1999.

Waldman, Diane. Italian Art Now: An American Perspective. New York: Guggenheim Museum, 1982.

Whitfield, Sarah. Lucio Fontana. Berkeley: University of California Press, 1999.

Modern Italian Art, 1850-2012 - Checklist of Slides

Week I

1. Introduction: Ottocento (1/22)

Antonio Canova, Pauline Borghese as Venus Victorious, 1802-05

Canova, Cupid and Psyche, 1793

Canova, Venus Italica, 1812, Florence, PP

Canova, Hercules and Lichas, f. 1815, GAMR

Canova, Monument to Vittorio Alfieri, 1804-10, Florence, Santa Croc3

Pietro Benvenuti, The Oath of the Saxon Officers to Napoleon after the Battle of Jena, 1812, Florence, GAMP

Lorenzo Bartolini, Monument to Countess Sophia Zamovska, 1837-44, Florence, Santa Croce

Giuseppe Bezzuoli, Entrance of Charles VIII into Florence, 1827-29, Florence, GAMP
2. Art of the Risorgimento (1/24)

Amos Cassioli, Battle of Legnano, c. 1859, Florence, GAMP

Giovanni Fattori, Magenta, c. 1859, 1860-62, Florence, GAMP

Fattori, French Soldiers of 1859, c. 1859, p.c.

Fattori, The Lookout (The Sentinel), 1872, p.c.

Fattori, Garibaldi in Palermo, 1860-62, p.c.

Silvestro Lega, The Pergola (Trellis,In the Arbor), 1868, Milan, Brera

Lega, Mazzini on his Deathbed, 1873, Providence, RI, RISD Museum

Stefano Ussi, Expulsion of the Duke of Athens, 1860, Florence, GAMP

Odorado Borrani, April 26, 1859, p.c.

Borrani, Seamstresses of the Red Shirts, 1863, p.c.
Week II

3. The Macchiaioli as Painters of Florence and Tuscany (1/29)

Domenico Induno, The Arrival of the Bulletin Announcing the Peace of Villafranca, 1860-62, Milan, CGAM

Luigi Mussini, The Sacred Music, 1841, Florence, GAMP

Telemaco Signorini, The Ward of the Madwomen at San Bonifazio in Florence, c. 1865-70, Venice, GMACP

Signorini, The Portoferraio Penitentiary, 1894

Signorini, The Ghetto in Florence, 1882, Rome, GNAM

Fattori, Rotunda dei Palmieri, 1866, Florence, GAMP

Fattori, Viale Principe Amadeo in Florence, 1880-81, p.c.

Fattori, Libecciata (Southwesterly Wind), c. 1880, Florence, GAMP

Fattori, Man Caught in a Stirrup, ca. 1880-82, Florence, GAMP

Giuseppe Abbati, Cloister, 1861-62, Florence, GAMP

Abbati, Cloister of Santa Croce, ca. 1862, Milan, Jucker Collection

Lega, The Betrothed, 1869, Milan, MNST

Federico Zandomeneghi, Portrait of Diego Martelli, 1879, Florence, GAMP

Giovanni Boldini, The Painter Beppe Abbati, 1865-66, p.c.

Adriano Cecioni, Interior with Figure, 1867-70, Rome, GNAM

4. Turn of the Century: Realism, Orientalism, and Divisionism (1/31)

Michaele Cammarano, Idleness and Work, ca. 1862, Naples, MGNC

Gioacchino Toma, Luisa Sanfelica in Prison, 1874, Naples, MGNC

Doemenico Morelli, The Iconoclasts, 1855, Naples, MGNC

Vincenzo Gemito, Bust of Verdi, 1873, Florence, GMAP

Vittore Grubicy de Dragon, Winter Poem (Morning on Lake Maggiore), 1894-1911, Paris, Musée d’Orsay

Gaetano Previati, In the Meadow, 1889-90, Florence, Pitti Palace

Previati, Paolo and Francesca, 1901, Milan,

Previati, The Creation of Light, 1913, Rome, GNAM

Angelo Morbelli, Last Days, 1883, Milan, CGAM

Morbelli, The Milan Central Station, 1889, Milan, CGAM

Morbelli, Holiday at the Pio Albergo Trivulzio, 1892, Paris, Musée d’Orsay

Morbelli, For Eighty Cents, 1895, Vercelli, MCAB

Alberto Pasini, In Constantinople, 1868, Boston, Museum of Fine Arts

Achille d’Orsi, “Proximus tuus,” 1880, Rome, GNAM
Week III

5. Symbolism, Divisionism (2/5)

Giovanni Segantini, Angel of Life, 1894, Milan, CGAM

Segantini, The Unkind Mothers, 1894, Vienna, KM

Giuseppe Pellizza da Volpedo, The Fourth Estate, 1901, Milan, CGAM

Pelizza da Volpedo, Processsion, 1894, Milan, MNST

Pelizza dea Volpedo, Self-Portrait, 1897-1901, Florence, Uffizi

Pelizza da Volpedo, Rising Sun ,1903-04, Rome, GNAM.

Emilio Longoni, Caller of the Strike, 1893, p.c.

Plinio Nomellini, Call to Work, 1893, Livorno, p.c.

Duilio Cambellotti, The False Civilization, c. 1905, p.c.

Cambellotti, Illustrations to Dante’s Divine Comedy for Alinari Competition, 1900

Francexco Pauolo Michetti, The Vow, 1881-83, Rome, GNAMC

Giulio Aristide Sartorio, Diana of Ephesus Genetrix and The Gorgon and the Heroes, 1895-99, Rome, GNMC

Sartorio, Maleria, ca. 1902-05, Rome, GNAM

6. Visit to Chazen Museum Print Room (2/7)
Week IV

7. Symbolism, Modern Italian Sculpture, and the Transient in Medardo Rosso (2/12)

Boldini, The Colonnades of Versailles, 1890-1900, Madison, Chazen Museum of Art

Boldini, Count Robert de Montesquiou, 1897, Paris, Musée Orsay

Boldini, Portrait of Marchesa Luisa Casati, 1911-13, Florence, Pitti Palace

Medardo Rosso, Bookmaker, 1894, New York, MOMA (all Rosso works in multiple casts and photos)

Rosso, Laughing Woman, 1890

Rosso, Woman in the Veil, 1895

Rosso, Laughing Woman (Large), 1891, bronze

Rosso, Sick Child, 1895

Rossa, Ecced Puer, 1906

Rosso, Photos

Adolfo Wildt, Idiot Mask, 1910, Gardone Riviera, “Il Vittoriale degli italiani”

Wildt, Fiery Character – Gentle Spirit, 1912, Venice, MAMCP
8. Film: The Leopard (2/14), Part 1: written response to film due in dropbox 2/21

(You can see the rest at Amazon Films, Netflix, or the Media Library in Van Hise)
Week V

9. (2/19) Stile Liberte/Floreale

Turin Exposition of 1902

Galileo Chini, Primavera, 1914

Chini, Agostino Lauro, Carlo Bugatti, , Ernesto Basile: Architecture, Decorative Objects, and Design

10. Futurist Manifestoes & Development (2/21)

Marinetti, Parole in Libertá (Words in Freedom), 1919

Giacomo Balla, Bankruptcy, 1902, p.c.

Balla, The Madwoman, 1905, Rome, GNAMC

Balla, A Worker's Day, 1904, p.c.

Balla, Street Light, 1909, New York, MOMA

Umberto Boccioni, Riot in the Galleria, 1910, Milan, p.c.

Boccioni, The City Rises, 1910, New York, MOMA

Boccioni, Caricature of a Futurist Evening, 1911, lost ink drawing

Boccioni, The Noise of the Street Enters the House or Simultaneous Vision, 1911, Hannover, Kunstmuseum

Carlo Carrà, Funeral of the Anarchist Galli, 1910-11, New York, MOMA

Carrà, Portrait of the Poet Marinetti, 1911, Turin, p.c., and Milwaukee Museum of Art

Carrà , Galleria in Milan, 1912, Venice, Guggenheim, Mattioli Coll.

Luigi Russolo, The Revolt, 1911, The Hague, GM

Russolo, Music, 1911-12London, Estorick Coll.

Russolo, Solidity of Fog, 1912, Venice, GM/PGM

F.T. Marinett, Title Page of Zang Tumb Tumb, 1914
Week VI

11. Futurist Abstraction (2/26)

Balla, Dynamism of a Dog on a Leash, 1912, Buffalo, A-K

Anton Giulio Bragaglia, The Typist, 1911

Balla, Running on a Balcony, 1912, Milan, CGAM

Balla, Window in Düsseldorf, 1912, Rome, Balla Coll.

Balla, Flight of Swifts, 1913, New York, MOMA

Balla, Boccioni's Fist, 1915, p.c.

Balla, Iridescent Interpenetration, No. 1, 1912, p.c.

Balla, Mercury Passing the Sun, 1914, Venice, GM/PGM

Balla, Numbers in Love, 1920, Switzerland, p.c.

Gino Severini, Dynamic Hieroglyphic of Bal Tabarin, 1912, New York, MOMA

Severini, Sea Dancer, 1914, Venice, PGM

12. Boccioni (2/28)

Boccioni, Modern Idol, 1911, London, Estorick Coll.

Boccioni, Laughter, 1911, New York, MOMA

Boccioni, States of Mind: The Farewells, Those Who Go, Those Who Stay, 1911, New York, MOMA

Boccioni, Anti-Graceful, 1912, New York, Winston Collection

Boccioni, Materia, 1912, Venice, Guggenheim/Mattioli

Boccioni, Dynamic Development of a Bottle in Space, 1912, New York, MOMA

Boccioni, Unique Forms of Continuity in Space, 1913, New York, MOMA

Boccioni, Dynamism of a Cyclist, 1913, Venice, PGM

Boccioni, Horse + Rider + Houses, 1914, Venice, PGM

Week VII

13. Futurist Design, Photography, Architecture, Theater, and Music/At War and Beyond (3/5)

Bragaglia, Gianetto Bisi, and others: Futurist photography and film

Antonio Sant'Elia, "The New City" (La Città Nuova), 1914: Airplanes & Trains, Skyscrapers & Bridges

Carrà,Patriotic Celebration (Manifesto for Intervention), 1914, Venice, PGM

Severini, Plastic Synthesis of the Idea "War," 1915, Munich, BSGS

Boccioni, Charge of the Lancers, 1915, Milan, Jucker Coll.

Carrà, Futurist Synthesis of War, 1914

Balla, Anti-Neutral Clothes, 1914

Fortunato Depero, Idol Dancer, 1917, Trento and Rovereto, MART

Furniture & Design by Depero, Balla

14. La Grande Guerra degli Artisti (cf. 2005-06 Florence exhibition catalogue of that title) (3/7)

Balla, Lines of Force of a Caproni Airplane, 1915, Turin, Forchino Coll.

Chini, The Widows, 1915, p.c.

Osvaldo Licini, Italian Soldiers (Memories of War), p.c.

Lorenzo Vani, War, 1917-18, p.c.

Nomellini, At the Gates of Italy, 1918, p.c.

Ercole Sibellato, Portrait of Gabriele d’Annunzio, 1916, Gardone Riviera, “Il Vittoriale degli italiani”

Mario Sironi, The End of a Pirate of the XX. Century, 1 Oct. 1918, p.c.

Chini, Tomb of a Hero, 1919, Florence, National Association of Families of the Fallen and Lost in War

Ardengno Soffici, The Veteran 1919, 1929-30

Carrà, The Arrest of Cesare Battisti, 1934

Cambellotti, War, or The Cuirass, 1918-19, Rome, Cambellotti Archive

Cambellotti, Peace, 1919, Rome, Collection of the Region of Lazio

15. Eight-Week Exam (3/12)
16. Modigliani & Morandi (3/14)

Amadeo Modigliani, Head, 1911-13, New York, Guggenheim, limestone

Modigliani, Caryatid, 1914, New York, MOMA, limestone

Modigliani, Portrait of Jean Cocteau, 1916, Pearlman Foundation

Modigliani, Nude with Clasped Hands, 1917, p.c.

Modigliani, Portrait of Jean Hébuterne, 1919, New York, Metropolitan

Giorgio Morandi, Still Life, 1916, New York, MOMA

Morandi, Still Life, 1918, Milan, Jucker Coll.

Morandi, Still Life, 1919, Milan, p.c.

Morandi, Still Life, 1926, Florence, RACADR

Morandi, Landscape, 1929, Rome, p.c.

Morandi, Still Life, 1929-30, p.c.

17. De Chirico and Scuola Metafisica (3/19)

Giorgio De Chirico, Self-Portrait, 1913, New York, Metropolitan

De Chirico, Self-Portrait, 1913, New York, Alex Hillman

De Chirico, The Red Tower, 1913, Venice, Peggy Guggenheim/Mattioli Coll.

De Chirico, Soothsayer's Recompense, 1913, Philadelphia Museum

De Chirico, Mystery and Melancholy of the Street, 1914, p.c.

De Chirico, Still Life: Turin in Spring, 1914, p.c.

De Chirico, Evil Genius of a King, 1914, New York, MOMA

De Chirico, The Jewish Angel, 1916, Gelman Coll.

Carrà ,The Drunken Gentleman, 1916, p.c.

De Chirico, The Great Metaphysician, 1917, New York, MOMA

De Chirico, Metaphysical Interior with Large Factory, 1917, Stuttgart, SG

18. The Return to the Classical (3/21)

Carrà, The Pine Tree by the Sea, 1921, p.c.

Severini, The Two Pulchinellos, 1922, Hague, GM

De Chirico, Departure of Argonauts, 1922, p.c.

De Chirico, The Archaeologist, 1927, p.c.

De Chirico, Gladiators, Battle, 1928, Milan, CMAC

De Chirico, Visit to The Mysterious Baths, 1935, Verona, p.c.

Alberto Savinio, The Isle of Charms, 1928, Regole d'Amprezzo, PMR

Savinio, Annunciation, 1932, Milan, Boschi-Di Stefano Coll.

Filippo de Pisis, Still Life with Capriccio of Goya (Still Life with Feather Duster), 1925, p.c.

De Pisis, Marine Still Life with Lobster, 1926, Rome, Galleria dell'Oca
3/23-4/1 Spring Break
Week X

(for further illustrations and information see

9. Novecento (4/2)

Felice Casorati, Double Portrait with Sister, 1924, Turin, Galleria Narciso

Casorati, Noon, 1922, Trieste, Museo Revoltella

Arturo Martini, The Pisan Girl, 1928, Florence, RACADR

Martini, Expectation, 1930-31, p.c.

Mario Sironi, Cyclist, 1916, Rome, p.c.

Sironi, The White Horse and the Pier, 1920-22, p.c., Rome

Sironi, Urban Landscape with Lorry, 1920-23, p.c.

Sironi, The Architect, 1922, p.c.

Sironi, The Pupil, 1924, p.c.

20. Rationalism/Second Futurism (4/4)

Giovanni Michelucci and the Tuscan Group, Santa Maria Novella Train Station, 1932-33, Florence

Mario De Renzi, Adalberto Libera, Terragni, Sironi, Prampolini, and others:

Exhibition of the Fascist Revolution (MDRF), 1932, Rome, Palazzo delle Espozisioni: Facade, Gallery, Rooms 0, R, S, & U

Giuseppe Terragni, House of the Fasci, 1932-36, Como

Adolfo Wildt, Portrait Bust of Toscanini, 1924, Rome, GNAM

Gerardo Dottori, The Lake, 1920, Lugano, p.c.

Dottori, The Hell of Battle over the Paradise of the Gulf, 1942, Rome, B. Marinetti

Enrico Prampolini, The Everyday Automaton, 1930, Rome, GNAM

Prampolini, Extraterrestrial Spirituality, 1932, p.c.

Ernesto (Michaelles) Thayaht, Dux, 1932

Benedetta (Benedetta Cappa in Marinetti), Mt. Tabor, 1936, Piazoni-Marinetti Coll.

Tullio Crali, Dogfight 1, 1936-38, p.c.

D’Annunzio’s Home at Gardone Riviera, “Il Vittoriale degli italiani”
Week XI

21. Scuola Romana (4/9)

Fausto Pirandello, Interior in the Morning, 1931, Paris, MNAM

Massimo Campigli, Market of the Woman and the Amphorae, 1929, Assitalia SPA

Ottone Rosai, Via Toscanella, 1922, Florence, Piccoli-Zavagli Coll.

Antonietta Raphael Mafai, Self-Portrait with Violin, 1928, Rome, p.c.

Raphael Mafai, Yom Kippur at the Synagogue, 1931, Rome, p.c.

Mario Mafai, Self-Portrait, 1929, private collection

Mafai, Demolition of the Borghi, 1939, Rome, Galleria Nazionale d'Arte Moderna

Carlo Levi, Portrait of Leone Ginzburg, 1933, Rome, Levi Foundation

Levi, Son of the Parroccola, 1936, Rome, LF

Scipione [Gino Bonichi], Apocalypse, 1930, Turin, MCGAM

Scipione, Piazza Navona, 1930, Rome, GNAM

22. Art in Mussolini’s New Italy & World War II: Abstraction & Figuration of Fascism & Resistance (4/11)

EUR (Espozione Universale di Rome, 1942-1966, 2000-), Rome: Civic Palace, Museum of Roman Civilization, Axis towards Civic Palace

Giuseppe Capogrossi, The Storm, 1933, Rome, GNAM

Licini, Biting, 1936, p.c.

Atanasio Soldati, Composition, 1935, Rome, p.c.

Lucio Fontana, Abstract Sculpture, 1934, B. Monti della Corte Coll.

Fontana, Crab, 1936-38, Milan, Capuani Coll.

Luigi Veronesi, Composition, 1936, Turin, MCGAM

Fausto Melotti, Sculpture No. 11, 1934, Melotti Coll.

Melotti, Sculpture No. 16, 1935

Renato Guttuso, Execution in the Countryside, 1939, Rome, GNAM

Guttuso, Flight from Etna, 1940, Rome, GNAM

Guttuso, Crucifixion, 1941, Rome, GNAM

Week XII

23. Postwar Figuration & Abstraction (4/16)

Marino Marini, Pomona, 1941, Brussels, MRBA

Marini, Horseman, 1947, London, Tate Gallery

Marini, Angel of the City, 1948, Venice, Guggenheim

Giacomo Manzù, Christ with Magdalene, 1947-66, Rome, GNAM

Manzù, Christ and General, 1947, Rome, GNAM

Giulio Turcato, Political Gathering, 1950, Rome, Coll. Arn-A'Asanio

Agenore Fabbri, Cat, 1952, polychrome terracotta, Schubert Coll.

Capogrossi, Surface 210, 1957, New York, Guggenheim

Licini, Angel of San Domingo, 1957, Fattori di Celle, Gori Coll.

Ettore Colla, Orpheus, 1956, Rome, Gall. L'Isola

Colla, Continuity, 1951, New York, MOMA

Melotti, Theme and Variations II, 1981, Celle, Gori Foundation
24. The Italian Metamorphosis/Burri & Fontana(4/18)

Alberto Burri, Szi, 1948, Città di Castello, Fondazione Palazzo Albizzini

Burri, Sack IV, 1954

Burri, Large Wood Piece G59, 1959, Rome, GNAM

Burri, Large Red Plastic Piece, 1964, Rome, GNAM

Fontana, Milan, Ninth Triennial Grand Staircase Neon Installation, 1951

Fontana, Spatial Concept, 1952, Turin, MCGAM

Fontana, Spatial Concept, Form, 1958, Teresita Fontana Coll.

Fontana, Spatial Concept, Nature, 1959-60, bronze, Teresita Fontana

Fontana, Spatial Concept, The End of God, 1962-63, p.c.


25. The New Architecture & Design (4/23)

Michelucci, Church of San Giovanni Battista sull'Autostrada, 1960-64, Sesto-Fiorentino

26. New Figuration and Abstraction (4/25)

Carla Accardi, Labyrinth with Sections, 1957, Luciano Pistoi Collection

Accardi, Rolls, 1965-68, Accardi Coll.

Arnaldo Pomodoro, Sphere No. 4, 1963-64, Venice, Guggenheim

Pomodoro, Sphere & Three Travelers Columns, 1964, New York, Marlborough Gall.

Piero Dorazio, Survey Relation of Times of Perception, 1950, Rome, GNAM

Dorazio, Mythification, 1962, Dorazio Coll.
Week XIV

27. Informel/Provocation/Arte Povera (4/30)

Emilio Vedova, Concentration Camp, 1950, Antonietta and Giovanni Demarco

Vedova, Absurd Berlin Diary, 1964, Vedova Collection

Enrico Baj, Six Generals on Parade, 1964, p.c.

Piero Manzoni, Achrome, 1958, Collection Gianni Malabarba

Manzoni,Achrome, 1958, Turin, Museo Civico

Manzoni,Artist's Breath, Venice, Cogognato Coll.

Manzoni,Artist's Shit, 1961

Manzoni, Achrome (Bread Roles), 1961-62, Gianni Malabarba
28. Arte Povera (5/2)

Mimmo Rotella, The Assault, 1963, Stuttgart, Staatsgalerie

Rotella, Marilyn, Decollage, 1963, Turin, Maria Cohen

Pino Pascali, Red Lips: Homage to Billie Holiday, 1964, Turin, GCAM

Pascali, Colosseum, 1964, Venice, p.c.

Pascali, Self-Propelled Cannon, 1965, Turin, Franz Paludetto Coll.

Pascali, Beheading of the Rhinoceros, 1966, p.c.

Michelangelo Pistoletto, Burnt Rose, 1965, Turin, ACP

Pistoletto, Venus of the Rags, 1967, Naples, Di Bennardo Collection

Giovanni Anselmo, Untitled, Structure that Eats, 1968, New York, Sonnabend Gallery

Week XV

29. Arte Povera (5/7)

Giulio Paolini, Young Man Looks at Lorenzo Lotto, 1967, Paolini Coll.

Domenico Gnoli, Without a Still Life, 1966, Berlin, Neue Nationalgalerie

Mario Merz, Unreal City, 1968, Amsterdam, Stedelijk

Merz, Double Igloo, 1968-81, Stuttgart, Staatsgalerie

Marisa Merz, Untitled, 1967-85, aluminum foil installations

Pistoletto, Viet Nam, 1965, Houston, Menil Collection

Luciano Fabro, Gold Italy, 1971,Milan and Turin, Gall. Stein

Janis Kounellis, Untitled (Alphabet), 1959, New York, MOMA

Kounellis, Horses, 1969-76

Kounellis, Untitled, 1967, Schaffhausen, Halle für Neue Kunst
30. Transavanguardia & Contemporary (5/9)

Sandro Chia, Speed Boy, 1981, p.c.

Chia, Audacious Raft, 1982, Berlin, Marx Coll.

Chia, Boots Pride, 1984, Madison, Elvehjem Museum

Giuseppe Penone, Breath, 1978, Amsterdam, Stedelijk

Penone, Tree of Twelve Meters, 1980-82, Penone Coll.

Enzo Cucchi, Stupid Picture, 1982, Berlin, Marx Coll.

Cucchi, Poet at Work, 1996, Rome, GNAM

Francesco Clemente, Priapea, 1980, Berlin, Marx Coll.

Clemente, Roots, 1982, Berganus Coll.

Clemente, Untitled, 1983, Zurich, Thomas Ammann Coll.

Clemente, Brotherhood, 1988, New York, Sperone Westwater Gall.

Maurizio Cattelan, Love Lasts Forever, 1997, installation, Münster, SPM

Cattelan, All, New York, Guggenheim Museum, 2011

Grazia Toderi, Videos: My Head, My Heart, 1993 and ...There was Something Fairy-Like About Her..., 1994

Vanessa Beecroft, Performance Deitch Projects, New York, 1996

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