The exhibition “Twentieth-Century Italian Art", held at MoMA in New York in 1949, was the first opportunity for the American critics and audience to see the work of a substantial group of contemporary Italian artists. By studying the criteria and the contextual circumstances of the exhibition the essay focuses on the positive consequences on the private and institutional collection of Italian painting and sculpture and on the growing interest in young Italian art of postwar period. The conclusion of the essay focuses on Afro Basaldella – participating to the show at MoMA – who will be one of the most appreciated artist by critics, audience and collectors between ‘50s and half ‘60s, thanks to the support by Catherine Viviano Gallery.
La mostra "Twentieth-Century Italian Art", tenutasi al MoMA di New York nel 1949, ha rappresentato la prima importante occasione per il pubblico e la critica americana di conoscere in modo più completo e articolato la produzione artistica italiana della prima metà del '900. Il saggio ricostruisce le vicende che hanno portato all'organizzazione della mostra e si sofferma sulle sue positive conseguenze favorendo il collezionismo museale e privato di opere italiane e una crescente attenzione per la giovane arte italiana del secondo dopoguerra. Si sottolinea come, Afro Basaldella, presente alla mostra del MoMA, diventi uno degli artisti italiani che riscuotono maggiore successo di critica, pubblico e collezionistico tra gli anni '50 e la metà degli anni '60, grazie al lavoro capillare della Catherine Viviano Gallery.
1949: “Twentieth-century italian art” al Moma di New York / D. Colombo - In: Afro / [a cura di] P. Rylands. - Firenze : Forma, 2018. - ISBN 9788899534776. - pp. 59-67
1949: “Twentieth-century italian art” al Moma di New York
D. Colombo
2018
Abstract
The exhibition “Twentieth-Century Italian Art", held at MoMA in New York in 1949, was the first opportunity for the American critics and audience to see the work of a substantial group of contemporary Italian artists. By studying the criteria and the contextual circumstances of the exhibition the essay focuses on the positive consequences on the private and institutional collection of Italian painting and sculpture and on the growing interest in young Italian art of postwar period. The conclusion of the essay focuses on Afro Basaldella – participating to the show at MoMA – who will be one of the most appreciated artist by critics, audience and collectors between ‘50s and half ‘60s, thanks to the support by Catherine Viviano Gallery.File | Dimensione | Formato | |
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