Series |
Storie dell’arte contemporanea
Review | Gli artisti di Ca’ Pesaro e le esposizioni del 1919 e del 1920
Chapter | Come deve essere una sala di esposizione?
Come deve essere una sala di esposizione?
La funzione di Ca’ Pesaro nella carriera di Felice Casorati
Abstract
After World War I, from 1918 to 1920, Felice Casorati actively partecipated to Ca’ Pesaro exhibitions and we can therefore identify his new pictorial production in the frame of relationships between Venetian and Turinese environment. Ca’ Pesaro plays an essential role in this phase of his career, offering themes and models that can be traced back to the strategies that inspire his cultural action upon his arrival in Turin. Starting from a premise on his paintings and exhibitions of 1914-16, this contribution compares two cities, their structures and institutions; we can also better understand which works of art he assigns to different shows both in Turin and in Venice: at Ca’ Pesaro, at the Geri Boralevi Gallery, at the Circolo degli Artisti and at the Promotrice delle Belle Arti. The focus is on the exhibition intended as a social space and a milieu where artistic researches are made and discussed, on how Casorati setted up paintings in the rooms and in which sequence, on those different occasions.
Published March 1, 2018 | Language: it
Keywords Venezia, Torino, ordinamento, allestimento, sala e
Copyright © 2018 Giorgina Bertolino. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.30687/978-88-6969-199-7/009
