dieser beitrag wurde verfasst in: englisch (eng/en)titel: Case Museo di Milano: Boschi Di Stefano House Museum. Information Cardmode_edit
Milan, Capital of the Contemporary (dieser beitrag wurde verfasst in: englisch)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.
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.