The Museo del Novecento hosts, from 15 March to 27 June, Exit Morandi, the great monographic exhibition dedicated to Giorgio Morandi (1890-1964), one of the greatest representatives of the art of the twentieth century and today recognized as an artist of international renown.
The exhibition, curated by Maria Cristina Bandera e Sergio Risaliti, originates from four important paintings that belonged to the collector and patron Alberto Della Ragione and collects works that belonged to or gravitated into the orbit of Roberto Longhi, Cesare Brandi, Francesco Arcangeli and Carlo Ludovico Ragghianti, illustrious art historians, many of them also friends of the painter and cardinal points of the twentieth-century criticism concerning his art.
"The visitor of this exhibition finds Giorgio Morandi, an artist who today speaks particularly to our time - he explains Maria Cristina Bandera, curator of the exhibition, as well as Director of the Roberto Longhi Foundation and one of the greatest scholars in the world of the Bolognese master - and our gaze is placed in dialogue with particularly significant works by Morandi, not only in the journey, in the artistic journey of Giorgio Morandi but also in the interpretation of his critics and friends who have been great pillars in the history of twentieth-century art ".
Exit Morandi it also has the merit of bringing together all the themes dear to the great artist: from still lifes, - among which the sequence of bottles, vases, bowls and cut flowers stands out - to the splendid paesaggi timeless, and to show the various techniques he used as, in addition to the paintings, it is also possible to admire some drawings and various engravings.
A painting, the Morandian one, which is striking because, although it represents mostly modest objects of daily life, it has the power to reveal its essence, or rather a sort of "transcendence", refusing a codified identity. And indeed, being in front ofMorandi's paintings, scrutinizing the details or the intensity of the colors, the contours of the famous 'bottles', for example, leads the attentive visitor to realize that these are not objects reproduced realistically but "repainted", transfigured, which , as Professor Bandera points out, they become "compositional elements, geometric and architectural forms" that immediately rise to another meaning.
"The bottles for Morandi are shapes, figures that are placed on a stage and that fit into a space, which mark a vertical space - still specifies Maria Cristina Bandera - Morandi was not only a painter of still lifes but also a painter of landscapes, of these landscapes filtered through the mind, evoked, never descriptive, never naturalistic but always of great research, a research that in any case always moves in parallel between still life and landscape. "
Indeed, even those that the artist calls, not surprisingly, "countries", and that Federico Zeri in his "Abecedario pictorico" defines "among the masterpieces of landscape painting of all time", are represented in their essence, private poetic visions of any decorative or illustrative element. And on the other hand it is Morandi himself who expresses this intimate need to represent the invisible through art, not the objective reality of things, when he states: "I believe that there is nothing more surreal and more abstract than reality. "
The exhibition sees the collaboration with the Roberto Longhi Foundation and Villa Brandi and relies on the loans of the National Gallery of Modern and Contemporary Art of Rome, of the Banca Monte dei Paschi di Siena and of significant private collections.