Where and when
The first exhibition of the Solo cycle is dedicated to Emilio Vedova, conceived by the artistic director of the Museo Novecento Sergio Risaliti, imagined to offer from time to time a brief portrait of some great masters of the twentieth century starting from the patrimony of the Florentine civic collections.
Monday – Sunday
By alternating exhibitions that draw from the deposits with others organized to host personalities not present in the collection, the project, carried out in conjunction with the reorganization of the Novecento Museum, responds to the dual need to build new narratives around the artists kept in the museum and to integrate the exhibition itinerary filling the gaps that have characterized the civic collections since their first constitution.
The first appointment, curated by Luca Pietro Nicoletti, focuses on the significant nucleus of early paintings by the Venetian painter present in the Alberto Della Ragione Collection executed in 1942 and dedicated to a free exercise of copying and rereading of Tintoretto’s canvases for the Scuola Grande di San Rocco in Venice and on the season between the late fifties and early sixties.
Regarding the relationship with the Renaissance master, Sergio Risaliti declares: «Tintoretto is to Vedova as Michelangelo is to Pollock, a relationship highlighted by the Jackson Pollock exhibition. The figure of fury organized in 2014 right in Florence, in Palazzo Vecchio».
The central point of the exhibition is the Plurimo 1962/63, n. 7, “Opposti” (1962-1963), a work donated by Emilio Vedova in 1966 at the invitation of Carlo Ludovico Ragghianti for the new International Museum of Contemporary Art, which exemplifies the mature phase of the artist in his entanglement with the culture of protest , between art and politics, and with the scenic-musical dimension (the collaboration with Luigi Nono), as well as the accomplished landing of his informal research.
In order to create a link between the various sections, the need arose to document the main seasons of Vedova’s activity by selecting some works that testify to the expressive research in its highest and most emblematic quality.
Today’s selection allows you to retrace the salient stages of Vedova’s artistic career: from the memory of futurism reinterpreted in an abstract key through dark monochromatic and exact backgrounds, up to the explosion of gesture and color on the surface of the canvas, with ever more anger and fury existential implication. The exhibition is completed by a painting from the Eighties, a large-format work that recalls for power and speed the youthful inspiration of Tintoretto’s sublime decoration in Venice.
1919, Venice – 2006 Venice
Luca Piero Nicoletti