www.mural.ch: literatur

kommentar:

• Milan, Capital of the Contemporary (dieser beitrag wurde verfasst in: englisch)

  eingetragen von Alex Winiger am 16.03.2016, 10:34 (email senden)

  During the period from the end of the 1920s

  to the end of the 1960s, when the collection

  of Marieda Di Stefano and Antonio Boschi was

  being formed, more attention was paid in Milan

  to contemporary art than in any other Italian city.

  Following the precedent set by the Futurist

  Movement born in Milan in 1909, here the Italian

  Novecento movement was founded in 1922;

  the Manifesto of Mural Painting was undersigned

  in 1933 by Mario Sironi, Massimo Campigli,

  Achille Funi and Carlo Carrà; and in 1947 Lucio

  Fontana published the Manifesto of Spatialism.

  In the 1930s, urban stimulus was enriched

  by the knowledge of the need to integrate art

  and architecture. The Tribunale (“Hall of Justice”)

  of Milan, projected by Marcello Piacentini,

  became a space of public art with more than one

  hundred works by the greatest artists of the day,

  while the fifth occurrence of the triennial fairs at

  the Palazzo della Triennale (“Hall of the Triennial

  Fair”) - projected in 1933 by Giovanni Muzio

  - was dedicated to the integration of the arts.

  Another strong point of the city’s artistic culture

  was the presence of important galleries, such

  as Il Milione, the Galleria Milano, the Gian Ferrari

  and the Annunciata, which were like bridges

  between the explorations in Italy and those abroad.

  Milan also was the capital of contemporary art

  collecting, and the illuminated middle class

  matched a love for art with public munificence;

  the Jesi, Vismara, Grassi and Boschi Di Stefano

  collections still constitute the heart of the

  Milanese muselogical heritage of the 20th century.