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2016 •
2016 •
The study case offered by the international artists exhibits set in some private galleries in Milan in the 1920s reconsiders the triumph of a special form – the solo show – in the broadest context of the art system in Italy and encompasses art criticism, market and collecting taste in the light of the different (when not yet diverging) positions in the first decade of the fascist era. By focusing on the role played by Vittorio Pica, “curator” and art critic (but also Secretary General of the Venice Biennale in the editions 1920-1926), the exhibitions set in the galleries Pesaro, Bardi and Bottega di Poesia will be discussed: the names proposed on those occasions (Bernard, Rassenfosse, Liebermann, Grigorieff...) confirm an “internationalist” line, peculiar and isolated, in which one can read reluctances, missteps and generous openings of a rather delicate handover in the Italian artistic culture of the immediate first post-war period.
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