1Modern Italian Art, 1850-2012
Professor Barbara Buenger - Spring 2013 (T-Th, 11-12-:15)
Art History Website for Course Materials: http://www.wisc.edu/arth/ah408
Italian museums & exhibitions site: www.artonline.it
Italian sculpture site: www.scultura-italiano.com
AIMS OF COURSE
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 abebooks.com or amazon.com):
Course Reader (at Bob’s Copy Shop, 616 University Avenue only)
Braun, ed., Italian Art of the 20th-Century
Apollonio, Futurist Manifestoes
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
RESERVE BOOKS ARE KEPT AT THE DESK IN THE KOHLER ART LIBRARY
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%
ALL PAPERS ARE TO BE SUBMITTED BY THE ASSIGNED DATE TO THE DESIGNATED DROPBOX FOR THIS COURSE AT LEARN@UW.
Modern Italian Art, 1850-2012- Prof. Buenger - Spring 2013
1/22 Introduction: Art of the Ottocento
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
3/19 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
5/2 Arte Povera
5/7 Arte Povera
5/9 Transavanguardia & Contemporary
REQUIRED/RECOMMENDED CORE READINGS SCHEDULE
* 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
Olson: 13-25, 43-50
2. Week of 1/28 – Risorgimento/I Macchiaioli
Olson: 25-36, 65-74
Reader: Boime, Di Piero
3. Week of 2/4 – Italian Art at the Turn of the Century
Olson: 36—40, 75-87,
Reader: Boime, Braun, Broude, Fattori, Cecioni, Martelli
4. Week of 2/11 – Medardo Rosso/Symbolism
Reader: Rosso, Kaplan, , Poggi, Futurist Manifestoes
5. Week of 2/18 – Symbolism/Futurism
Apollonio: Entire book
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
Reader: Braun, Manifesto of Mural Painting, Nochlin, Pratolini
10. Week of 4/1 – Return to the Classical/Rationalism
Reader: Braun (PR)
11. Week of 4/8 – Second Futurism/Scuola Romana/World War II
Reader: Manifestoes, Marini, Sparke
12. Week of 4/15 – Italaian Metamorphosis/Postwar Abstraction & Figuration
13. Week of 4/22 – The New Design/New Figuration and Abstraction
Reader: Manifestoes, Rubinstein, Silk, Superstudio
14. Week of 4/29 – Informel/Arte Povera
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).
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.
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 (www.wisc.edu/writing) 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).
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..
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.
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.
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:
(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
ART HISTORY 408 RESERVES & RECOMMENDED - PROFESSOR BUENGER
N6923 M6 A84 2004 Abramowicz GIORGIO MORANDI
N8846 F8 F3 1997 Affron/ FASCIST VISIONS
NX600 F8 A6513 Apollonio FUTURIST MANIFESTOES
NOTEBOOK/PERSONAL COPY ART HISTORY 408 XEROXES
NX552 A1 B46 1997 Bentivoglio WOMEN ARTISTS OF FUTURISM
NB1803 +18 +B47 2004 Berresford ITALIAN MEMORIAL SCULPTURE
ND617.5 M3 B65 1993 Boime THE ART OF THE MACCHIA AND THE RISORGIMENTO
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
NX552 A1 I82 1994 ______ ITALIAN METAMORPHOSIS
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
NA1118 E86 1991 Etlin MODERNISM IN ITALIAN ARCHITECTURE
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
ND 192 P6 P66 House POST-IMPRESSIONISM
NX600 F8 H84413 1986 Hulten FUTURISM & FUTURISMS
NX552 A1 H86 1999 Humphreys FUTURISM
NB197.3 J36 1985 Janson HISTORY OF 19TH
+ND623 +M67 A4 2004 Klein MODIGLIANI
NX456.5 F8 P64 2001 Lista FUTURISM & PHOTOGRAPHY
DS135 I8 G7 1989 Mann GARDENS AND GHETTOS
ON ORDER Marchioni LA GRANDE GUERRA DEGLI ARTISTI
TX723 M32913 1989 Marinetti FUTURIST COOKBOOK
PQ4829 A78 A255 2002 _________ SELECTED POEMS/PROSE
N6494 F8 M3 Martin FUTURIST ART & THEORY
NA2707 S28 M48 1995 Meyer WORK/ANTONIO SANT'ELIA
NB623 R8 A24 2007 Mola ROSSO. THE TRANSIENT FORM
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
N6494 C6 P6 1992 Poggi IN DEFIANCE OF PAINTING
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
Selz CONTEMPORARY ART
+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)
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.
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.
. 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.
. 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
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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.
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Art in the Post-World War II Period:
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Scarfini, Giuliano. Burri. The Measure and the Phenomenon. Milan, Charta, 1999.
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Whitfield, Sarah. Lucio Fontana. Berkeley: University of California Press, 1999.
Modern Italian Art, 1850-2012 - Checklist of Slides
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.
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
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)
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
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)
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
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
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
(for further illustrations and information see http://www.scuolaromana.it/artisti)
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”
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
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.
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
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