Come deve essere una sala di esposizione?

La funzione di Ca’ Pesaro nella carriera di Felice Casorati

Giorgina Bertolino    



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.

01 Marzo 2018

Keywords: Venezia, Torino, ordinamento, allestimento, sala e

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