Treaty of Rapallo, marking the end of D’Annunzio’s occupation of Fiume.
“The result of pensive, incisive expressive power is attained through careful calibration of volume and space, and draws meaning from the gradation of shadows from dark to light, from a dense, dark colour to a diffuse luminosity that seems to embrace and enclose the figures in an organism of rare intensity. Rosai’s language is concentrated, not so much embracing reality as transforming it into real mystery, a condition of presence-absence in which Rosaian man acquires memory of the past and an awestruck sense of the present in an instant. This, in the group of mute figures, is Rosai’s metaphysics, suggested by a timeless atmosphere of drama and certainly not by any formal or theoretical models of De Chirico or Carrà. A condition which, if not philosophical, is existential and palpable in the gloom of the post-war period, where life struggled to resume acceptable rhythms. The ‘tomorrow’ of peace had finally arrived but anguish, anxiety and alarm still weighed heavily. Anything physical that appeared was devoid of fully human attributes. People with their feelings and things remained indefinite in a sort of limbo − also in cultural terms − that we can describe as metaphysical (emphasizing the semantically improper use of the word), as a psychological screen or imperfect approach to reality, almost with the desire to avoid it. In this Rosai seeks to dilute something drawn from antiquity, from myth, timeless inflections as though to eliminate contingency.”
Filippo De Pisis, Il signor Luigi B., Milan, 1920 (autobiographical novel).
Founding in Florence of Rete Mediterranea, a quarterly journal edited by Ardengo Soffici and published by Vallecchi, which folds after just a year.
Enzo Ferrieri founds Il Convegno, a journal of art and literature, in Milan.
Ottone Rosai presents 29 paintings, 16 drawings and 48 notes in Florence at his first solo show.
The first issue of the art journal Dedalo, editor Ugo Ojetti.
Filippo De Pisis moves from Ferrara to Rome and holds his first solo show at the Casa d’Arte Bragaglia.
Paul Cézanne is granted a personal room at the Venice Biennial.
Economic depression and occupation of factories by workers in Turin. Increase in episodes of violence by Fascist squads.
Birth of the National Fascist Party.
Gino Severini, Du cubisme au classicisme, J. Povolozky & Co, Paris, 1921.
Socialist Congress in Livorno and founding of the Italian Communist Party.
Victory of the nationalist bloc in the general election.
Gabriele D’Annunzio, Notturno, Tip. Treves, Milan, 1921.
Roberto Melli joins the editorial staff of the Rome-based industrial magazine Energia.
Ill and overburdened with debt, Ottone Rosai’s father drowns himself in the Arno and the artist is obliged to take over his carpenter’s shop in Via Maggio, Florence, and reduce his artistic activities for a number of years.
[C.L. Ragghianti, Introduzione, in C. Santini (a cura di), Ottone Rosai. Works from 1911 - 1957, exhibition catalogue (Roma, Galleria Nazionale d’Arte Moderna, 20 July - 18 September 1983), Vallecchi, Firenze 1983, p. 15]
Anselmo Bucci, Leonardo Dudreville, Achille Funi, Emilio Malerba, Pietro Marussig, Ubaldo Oppi and Mario Sironi combine to form a group of seven 20th-century painters in Milan and an exhibition bearing its name, Sette pittori del Novecento, as its title is organized by Margherita Sarfatti at the Galleria Pesaro.
Inauguration in Florence of La Fiorentina Primaverile. Prima esposizione nazionale dell'opera e del lavoro d'arte nel Palazzo del Parco di San Gallo a Firenze.
Felice Carena and the sculptor Attilio Selva open an art school in Piazza degli Orti Sallustiani, Rome. The pupils include Fausto Pirandello (as from 1922) and Giuseppe Capogrossi (as from 1923).
Show of work by Ottone Rosai at the Casa d’Arte Bragaglia in Rome and the Saletta Gonnelli in Florence.
Intensification of armed clashes in the streets and Fascist attempts to take over “red” towns. The headquarters of the Socialist party newspaper Avanti! devastated and set on fire.
[Pier Carlo Santini (ed.), Mostra dell’opera di Ottone Rosai 1911-1957, exh. cat. (Florence, Palazzo Strozzi, May–June 1960)]
Founding in Milan of the newspaper L’Ambrosiano.
Carlo Levi begins to write for the journal La rivoluzione Liberale, editor Piero Gobetti.
March on Rome organized by Mussolini to take power by force. Victor Emanuel III asks Mussolini to form a new government.
Mussolini delivers the speech inaugurating the Novecento group exhibition at the Galleria Pesaro.
Carlo Levi makes his debut at the Turin Quadrennial in a room organized by Felice Casorati, a key figure in his development first encountered during the year. Another participant is Gigi Chessa, now resident in Rome.
Filippo De Pisis, La città delle 100 meraviglie, Casa d’Arte Bragaglia, Rome, 1923 (with a watercolour by the author on the cover).
Members of the opposition led by Giovanni Amendola abandon parliament and withdraw to the Aventine.
It is said that he has an anti-classical nature which explains the use of foreshortening, the element of expressionistic tension underlining the anguish of the modern world, rather than the utterly unreal idyll of peace and suspended serenity, typical of a great number of artists close to "Plastic values" and magic realism".
[C. Gian Ferrari, Fausto Pirandello: l’inquietudine della forma, in C. Gian Ferrari, Fausto Pirandello, catalogo della mostra (Palazzo Reale, Milan, 23 June - 1 October 1995), p. 12]
Ottone Rosai joins the movement L’Italia Liberista but is expelled for dissidence.
Gigi Chessa takes part in the Esposizione di venti artisti italiani at the Galleria Pesaro in Milan.
Mario Mafai and Scipione begin to attend classes in drawing together in Rome at the Scuola libera del nudo, where Mafai and Antonietta Raphaël meet the following year.
Victory of the national list in a general election marked by violence. The Socialist politician Giacomo Matteotti is murdered after accusing the Fascists in parliament of rigging the election and calling for the results to be declared null and void.
A room at the XIV Venice Biennial is devoted to six painters of the Novecento group, while the seventh, Oppi, is given a personal room. The Sei di Torino (Six Painters of Turin) also take part with Jessie Boswell, one of the Six, showing work in the Italian section as a foreign artist.
Solo show of work by Filippo De Pisis organized in November by the magazine La Fiamma in the foyer of the Teatro Nazionale in Rome.
The restrictive enforcement of decrees introduced during the previous two years puts an end to the freedom of the press and the freedom of assembly and association.
Publication in the major periodicals of the Manifesto degli intellettuali Fascisti, drawn up by by Giovanni Gentile, in response to which, Antonio Gramsci writes the Manifesto degli intellettuali Antifascisti, which is published in Il Mondo.
Ottone Rosai meets Mino Maccari and begins to contribute to the journal Il Selvaggio (1926–29).
Publication in Milan of the first issue of the weekly magazine La Fiera Letteraria, which then moves its headquarters to Rome in 1928 under the direction of Giovanni Battista Angioletti and Curzio Malaparte, and becomes L’Italia Letteraria in 1929. Its contributors include Mario Mafai and Scipione, who produces the first cover of the renamed periodical in 1929 (the drawing of which, entitled Flagellazione / The Flagellation, now belongs to the Iannaccone Collection).
Gigi Chessa designs the costumes and scenery for a production of Rossini’s opera L’Italiana in Algeri at the Teatro di Torino (Turin).
Filippo De Pisis moves to Paris, where he remains until 1939. He teaches at the Sorbonne and holds a solo show at the Carmine gallery.
Mario Mafai and Scipione show two small paintings at the third Rome Biennial in a room set up by Cipriano Efisio Oppo for works rejected by the official jury.
Benito Mussolini inaugurates the exhibition Novecento Italiano at the Palazzo della Permanente in Milan. Filippo de Pisis and Francesco Menzio agree to take part but Gigi Chessa declines the invitation.
Publication of Lionello Venturi’s book Il gusto dei Primitivi, born out of a series of lectures delivered in Turin and Milan, with a drawing by Nicola Galante as its frontispiece. Venturi is in contact during this period with Carlo Levi, whose work is still bound up with the Novecento group and its support for the return to order.
Filippo De Pisis and Francesco Menzio are among the artists featured in the Italian room at the XV Venice Biennial.
Mussolini introduces the death penalty.
Birth in Rome of 900. Cahiers d’Italie et d’Europe, a quarterly journal of literature published in French, edited by Massimo Bontempelli with Ottone Rosai among the contributors.
Publication of the first issue of the magazine L’Arte Fascista in Palermo.
Lionello Venturi, Il gusto dei primitivi, Zanichelli, Bologna, 1926.
Official debut of Mario Mafai in the show Mostra di studi e bozzetti organized by the Associazione Artistica Nazionale di via Margutta in Rome.
Umberto Lilloni and Virgilio Ghiringhelli are joint winners of the Principe Umberto Prize at the Brera Biennial.
Antonietta Raphaël and Mario Mafai move into an apartment on Via Cavour in Rome. Their first child, Miriam, is born the same year.
Scipione holds a show at the Casa d’Arte Anton Giulio Bragaglia.
Roberto Longhi, Piero della Francesca, Valori Plastici, Rome, 1927.
Gigi Chessa, Felice Casorati, Nicola Galante, Carlo Levi, Francesco Menzio, Enrico Paulucci, Emilio Sobrero and Giacomo Debenedetti sign a letter of protest against the purchase of Giacomo Gandi’s painting La preghiera (The Prayer) by the Museo Civico d’Arte in Turin.
By invitation of Mino Maccari, Nicola Galante begins to contribute to Il Selvaggio, where Ottone Rosai also works.
Renato Birolli moves from Verona to Milan, where he joins the editorial staff of L’Ambrosiano and comes into contact with the artistic and intellectual scene, whose leading figures include Carlo Carrà, Edoardo Persico, Giacomo Manzù and Aligi Sassu.
Edoardo Persico, founder of the Milanese gallery Il Milione, moves to Turin, where he remains until 1929.
Fausto Pirandello moves to Paris, where he comes into contact with the painting of Chaïm Soutine, André Derain and the Italiens de Paris (1928–33), a group including Giorgio De Chirico, Gino Severini, Massimo Campigli, Alberto Giacometti and Alberto Savinio.
[Giuseppe Appella, ‘Mafai e Scipione: l’arte come rivelazione’, in Mario Mafai (1902-1965), ed. Giuseppe Appella, Giuseppe D’Amico and Flaminio Gualdoni, exh. cat. (Macerata, Palazzo Ricci and Pinacoteca Comunale, 6 July – 15 September 1986), De Luca, Rome, 1986, p. 9]
Henri Matisse is granted a personal room at the XVI Venice Biennial. Gigi Chessa, Ottone Rosai and Umberto Lilloni are among those taking part. Chessa is responsible for the installation design of the exhibition Mostra dell'Arte del Teatro, presented in the catalogue by Margherita Sarfatti.
Georges Waldemar, Filippo De Pisis, éd. Chroniques du jour, Paris, 1928.
Mario Mafai takes part in the XCIV Esposizione di Belle Arti della Società amatori e cultori.
[Giuseppe Appella, ‘Mafai, Giotto, e la piacevole fatica della pittura’, in Mario Mafai 1902-1965. Una calma febbre di colori, ed. Giuseppe Appella, Fabrizio D’Amico, Claudia Terenzi, Netta Vespignani, exh. cat. (Rome, Palazzo Venezia, 6 December 2004 – 27 February 2005), Skira, Milan, 2004, p. 22]
Roger Vailland, ‘Le fils de Pirandello est peintre à Montparnasse’, Paris-Midi, 8 October 1928.
Paolo Menzio takes part in the Salon de l’Escalier in Paris.
A stay in Paris (1928–29) plays a part, together with Venturi’s theories, in Carlo Levi’s move away from the Novecento group.
[Valerio Rivosecchi, ‘Catalogo - I tempi, i temi, le opere’, in Scuola romana. Artisti tra le due guerre, ed. Valerio Rivosecchi, Maurizio Fagiolo dell’Arco, exh. cat. (Milan, Palazzo Reale, 13 April – 19 June 1988), Mazzotta, Milan, 1988, p. 82]
Gigi Chessa is appointed to teach scenography at the Scuola Superiore di Architettura in Turin.
Aligi Sassu meets Filippo Tommaso Marinetti and draws closer to the Futurist movement without fully embracing its theoretical principles. He takes part in the Venice Biennial the same year at the age of just 16 and is co-author with Bruno Munari of the manifesto Dinamismo e riforma muscolare.
Birth in Florence of the magazine Frontespizio with Ottone Rosai among the contributors and Piero Bargellini subsequently appointed as editor.
[Rolando Bellini, ‘Scenari dei Sei pittori di Turin di prima e di dopo’, in Il gruppo dei Sei e la pittura a Turin 1920-1940, ed. R. Bellini and Ivana Mulatero, exh. cat. (Settimo Torinese, Casa per l’arte Giardiniera, 16 December – 26 March 2006), Edizioni Fondazione Torino Musei, Turin, 2005, p. 12]
Solo show of work by Fausto Pirandello − including La lettera (The Letter), now in the Iannaccone Collection − at the Galerie Vildrac in Paris. Giorgio De Chirico, Alberto Savinio, Fausto Pirandello and Carlo Carrà take part in Art Italien Moderne, organized by Mario Tozzi, at the Galerie Bonaparte.
Mario Mafai, Antonietta Raphaël and Scipione take part in the Prima Mostra del Sindacato laziale fascista at the Palazzo delle Esposizioni in Rome. Roberto Longhi coins the name “School of Via Cavour” in the second of two articles on the exhibition in L’Italia Letteraria.
[Mirella Bandini, foreword to I Sei Pittori di Turin 1929-1931, ed. M. Bandini, exh. cat. (Aosta, Museo Archeologico Regionale, 24 April 1999 – 4 July 1999), Musumeci Editore, Saint-Christophe, 1999, p. 13]
Gigi Chessa, Carlo Levi and Francesco Menzio take part in the Prima Esposizione sindacale fascista in Turin.
Renato Guttuso frequents the local artists of Bagheria, friends of his father, and begins to paint landscapes, He shows work for the first time in the II Mostra del Sindacato siciliano.
[Toti Scialoja, ‘Mafai’, Il Selvaggio, anno XVIII, no. 1-2-3, 15 March 1942, pp. 184–85]
Alberto Moravia, Gli indifferenti, Alpes, Milan, 1929.
Ottone Rosai and Filippo De Pisis take part in the second Novecento Italiano exhibition at the Palazzo della Permanente in Milan.
[Paolo Fossati, cit. in Francesco Menzio, exh. cat. (Turin, Galleria Narciso, 16 January – 2 February 1966), Galleria Narciso, Turin, 1966]
Edoardo Persico and Bruno Cassinari move to Milan.
Umberto Lilloni holds his first solo show at the Galleria Bardi in Milan.
[Ivana Mulatero, ‘Nuovi valori a certe parole’, in Il gruppo dei Sei e la pittura a Turin 1920-1940, ed. I. Mulatero, Rolando Bellini, exh. cat. (Settimo Torinese, Casa per l’arte Giardiniera, 16 December – 26 March 2006), Edizioni Fondazione Torino Musei, Turin, 2005, p. 90]
Mario Mafai and Scipione take part in the show Giovani pittori romani at the Circolo di Roma in Palazzo Doria.
Signing of the Lateran Pacts and reconciliation between the Italian state and the Catholic Church after the long conflict that began with the struggle for national unification and independence.
Fabrizio D’Amico, ‘Pittura di Fausto Pirandello’, in Fausto Pirandello. Catalogo generale, ed. Claudia Gian Ferrari, Electa, Milan, 2009, p. 10
Inauguration of the Accademia d’Italia with Enrico Fermi, Filippo Tommaso Marinetti and Guglielmo Marconi among its members.
First show of the Sei di Torino (Six Painters of Turin: Jessie Boswell, Gigi Chessa, Nicola Galante, Corrado Levi, Francesco Menzio and Enrico Paulucci) at the Casa d’Arte Guglielmi with a poster by Menzio based on Manet’s Olympia.
[Serena De Dominicis, ‘Antonietta Raphaël. L’identità, il femminile, la maternità’, in Artiste del Novecento tra visione e identità ebraica, ed. Marina Bakos, Olga Melasecchi, Federica Pirani, exh. cat. (Galleria d’Arte Moderna di Roma Capitale, 12 June – 5 October 2014), Trart, Venice-Trieste, 2014, p. 40]
Aligi Sassu begins the Uomini rossi (Red Men) series (1929–33), comprising some 500 depictions of gamblers playing dice, musicians, the Argonauts, riders and Castor and Pollux.
Carlo Levi starts to produce work of a more markedly expressive character with Modigliani and the Matisse of the 1920s as his models.
[Antonietta Raphaël, 1971, cit. in Fabrizio D’Amico, Antonietta Raphaël. Estasi e dramma, in Antonietta Raphaël. Sculture in villa, exh. cat. (Rome, Musei di Villa Torlonia - Casino dei Principi, 29 March – 15 July 2007), Palombi & Partner, Rome, 2007. p. 13]
Show of work by the Sei di Torino at Pier Maria Bardi’s gallery on Via Brera, which acts as a showcase until 1934 for the new generations seeking to revolutionize painting, including the Roman School (Cagli, Capogrossi, Cavalli) the Chiaristi, the Quattro di Palermo and the abstract painters of Milan.
Group show of work by Roman artists including Mario Mafai, Antonietta Raphaël and Scipione at the Casa d’Arte Anton Giulio Bragaglia. Raphaël also takes part in Otto pittrici e scultrici romane at the Camerata degli Artisti and receives praise from the critics
[Umbro Apollonio, introduction to Scipione, exh. cat. (Galleria del Cavallino, Venice, March 1945), Edizioni del Cavallino, Venice, 1945]
C. Pav. (C. Pavolini), ‘Mostre romane. Antonietta Raphaël’, Il Tevere, anno VI, no. 142, 14 June 1929.
[Antonello Trombadori, ‘La pittura di Scipione’, in Scipione, 1904-1933, ed. Giuseppe Appella et al., exh. cat. (Palazzo Ricci, Macerata, 6 July – 15 September 1985), De Luca Editore, Rome, 1985, p. 24]
Renato Birolli, Gigi Chessa, Carlo Levi and Francesco Menzio take part in the XVII Venice Biennial.
[Elena Pontiggia, ‘Anticipatori e compagni di strada’, in Il Chiarismo. Omaggio a De Rocchi. Luce e colore a Milan negli anni Trenta, ed. E. Pontiggia, exh. cat. (Milan, Palazzo Reale, 16 June – 5 September 2010), Skira, Milan, 2010, p. 117]
Second show of the Six Painters of Turin. Jessie Boswell leaves the group.
Ottone Rosai, Via Toscanella, Vallecchi, Florence, 1930.
Prima mostra di pittori italiani residenti a Parigi. Campigli, de Chirico, De Pisis, Paresce, Savinio, Tozzi at the Galleria Milano.
By invitation of Edoardo Persico, Umberto Lilloni takes part in a group show at the Galleria Il Milione, where Ottone Rosai holds a solo show the same year.
Show of work by Scipione and Mario Mafai organized at the Galleria di Roma by Pier Maria Bardi and Cipriano Efisio Oppo.
[V. Guzzi, Corriere delle arti, in “Primato”, 15 May 1943
Mario Mafai, ‘Arte nuova a Parigi: “I Surin-dépendants”’, L’Italia Letteraria, 3 August 1930.
Scipione takes part in the Prima Mostra Nazionale dell’Animale nell’Arte at the zoological gardens in Rome.
Mario Mafai, ‘Pittura parigina’, L’Italia Letteraria, 19 October 1930.
Filippo de Pisis and Fausto Pirandello are among the artists taking part in the Ausstellung Moderner Italiener in Basel.
The magazine Belvedere, widely read by the Milanese artists, publishes two works by Scipione: Il risveglio della bionda sirena (The Awakening of the Blonde Mermaid)
[Giuseppe Appella, Scipione. 306 disegni, Edizioni della Cometa, Rome, 1984, p. XI]
Antonietta Raphaël and Mario Mafai move to Paris, where she takes up sculpture
One of the last exhibitions of the Novecento Italiano group, including work by Gigi Chessa and Filippo de Pisis, is held in Buenos Aires.
Formation of a group of young artists around Edoardo Persico in Milan comprising Renato Birolli, Aligi Sassu, Giacomo Manzù, Luigi Broggini, Fiorenzo Tomea, Lucio Fontana and Domenico Cantatore.
Start of the draining and reclamation of the Pontine Marshes.
[Vittorio Fagone, ‘L’opera e il tempo di Renato Birolli’, in Renato Birolli, ed. Giulio Carlo Argan et al., exh. cat. (Parma, Università degli Studi di Parma, 1976), Quaderni/Centro Studi e Archivio della Comunicazione, Parma, 1976, p. 17]
Antonio Banfi becomes and lecturer on philosophy at Milan University and develops an aesthetic of art as expression of the feeling and dramas of existence that is later to influence the artists of the Corrente group.
Lionello Venturi loses his chair in art history at Turin University through his refusal to swear an oath of loyalty to the Fascist regime and goes into political exile in Paris.
Solo show of work by Francesco De Rocchi at the Galleria del Milione.
The Six Painters of Turin break up.
R. Barilli, Presentazione, in Tullio Garbari. Opere grafiche 1912-1931, catalogo della mostra (Trento, Galleria d’arte Il Castello, dicembre 1986 - gennaio 1987), Edizioni d’arte Il Castello, Trento, 1986, p.n.n.
“Se altri si limitavano a svolgere gli aspetti della riduzione ‘selvaggia’ e provocatoria (Gino Rossi, Lorenzo Viani), egli invece faceva qualcosa di più, abbozzava un sistema più complesso e armonico: gli apparteneva quasi in esclusiva la variante di un primitivismo intinto anche di aura sacrale. In un certo senso, egli non si limitava a distruggere, a scardinare, a contestare, con tratti pur di grande efficacia sintetica, investiti da una furia apprezzabile (le doti che, appunto, dobbiamo riconoscere a Rossi e Viani). Egli lavorava piuttosto in positivo, ricostituendo un sistema coerente e organico di figurazione ‘primitiva’, ispirata al mondo del disegno infantile: un sistema, per così dire, autonomo, non eretto ‘contro’, per spirito protestatario, ma provvisto, appunto, di una sua serena legalità, di una sua normalità ‘altra’.”
[R. Barilli, Presentazione, in Tullio Garbari. Opere grafiche 1912-1931, catalogo della mostra (Trento, Galleria d’arte Il Castello, dicembre 1986 - gennaio 1987), Edizioni d’arte Il Castello, Trento, 1986, p.n.n.]
Jessie Boswell holds a solo show at the Sala d’arte Guglielmi in Turin.
Scipione produces the cover for a new edition of Eugenio Montale’s Ossi di Seppia (1st ed. 1925) published by Giuseppe Carabba.
Giuseppe Migneco moves to Milan and enrols in the faculty of medicine. Through contact with Beniamino Joppolo (a former schoolmate) and his new friends Aligi Sassu, Renato Birolli and Raffaele De Grada, he decides to stop studying and devote his energies to painting.
Touring exhibition of the Novecento Italiano group in Stockholm, Helsinki and Oslo (the following year), curator Margherita Sarfatti. The participants include Mario Mafai.
[Elena Pontiggia, ‘Dal paesaggio classico al paesaggio esistenziale. L’idea del paesaggio nell’arte a Milan 1919-1959’, in Sognare la natura. Il paesaggio nell’arte a Milan dal Novecento all’Informale, ed. E. Pontiggia, exh. cat. (Mantua, Casa del Mantegna - Medole, Torre Civica, 4 September – 31 October 1999), Casa del Mantegna, Mantua, 1999, pp. 15–17]
Scipione and Francesco Menzio take part in the Exhibition of Contemporary Italian Paintings at the Baltimore Museum of Art.
Sandro Volta, Ottone Rosai, Hoepli, Milan, 1931.
Renato Guttuso, Scipione, Mario Mafai, Alberto Ziveri, Filippo de Pisis, Carlo Levi and Francesco Menzio take part in the first Rome Quadrennial.
Filippo De Pisis, ‘La pagina dell'artista, confessioni’, L’Arte, May 1931.
[Serena De Dominicis, ‘Antonietta Raphaël. L’identità, il femminile, la maternità’, in Artiste del Novecento tra visione e identità ebraica, ed. Marina Bakos, Olga Melasecchi and Federica Pirani, exh. cat. (Rome, Galleria d’Arte Moderna di Rome Capitale, 12 June – 5 October 2014), Trart, Venice-Trieste, 2014, p. 41]
First issue in Rome of Fronte, a magazine of art and literature with Marino Mazzacurati as editor and Giuseppe Ungaretti, Alberto Savinio, Scipione, Mario Mafai, Carlo Carrà, Arturo Martini and Alberto Moravia among the contributors.
Fausto Pirandello’s first solo show is held at Pier Maria Bardi’s Galleria di Roma.
|it! S. Solmi, Filippo de Pisis, Hoepli, Milano 1931. |en| Sergio Solmi, Filippo De Pisis, Hoepli, Milan, 1931.
Carlo Levi joins the anti-fascist Giustizia e Libertà movement led by Carlo Rosselli from his exile in Paris. His political activities lead to arrests in 1934 and 1935.
Renato Guttuso, ‘Il prezzo della libertà’, in Sassu, exh. cat. (Milan, Galleria delle Ore, May 1969), Galleria Delle Ore, Milan 1959
Edoardo Persico, ‘Filippo De Pisis’, La Casa Bella, April 1931.
Luigi Broggini wins the prize for sculpture in a competition held by the Milan City Council for students of the Accademia di Belle Arti - Fondazione artistica Antonio Tantardini.
Cesare Brandi, ‘Il pittore Filippo De Pisis’, Dedalo, May 1932.
[Elena Pontiggia, ‘Anticipatori e compagni di strada’, in Il Chiarismo. Omaggio a De Rocchi. Luce e colore a Milan negli anni Trenta, ed. E. Pontiggia, exh. cat. (Milan, Palazzo Reale (Milan, Palazzo Reale, 16 June – 5 September 2010), Skira, Milan, 2010, p. 112]
Ten young artists from Rome (including Cagli and Pirandello) and Lombardy (like Birolli and Sassu) are featured in Dieci pittori at the Galleria di Roma. The owner Pier Maria Bardi, who moved from Milan to Rome in 1930, plays an important role as a link between the two art scenes.
Scipione and Filippo de Pisis take part in 22 Artistes Italiens Modernes at the Galerie Georges Bernheim in Paris.
New and prolonged stay of Carlo Levi in Paris, during which he comes into contact with the Montparnasse group of Jewish artists. His painting attains full maturity in the expressionistic style that will characterize all the rest of his career.
The Galleria Il Milione holds a show of work by six Sicilian painters (6 pittori siciliani) including Renato Guttuso, who is soon closely involved with the Roman School.
Ottone Rosai shows over a hundred drawings and paintings at the Galleria di Palazzo Ferroni in Florence.
Mario Mafai returns definitively to Rome while Raphaël is in London. Mafai shows work in the XVIII Venice Biennial.
The Mostra della Rivoluzione Fascista is held at the Palazzo delle Esposizioni in Rome to celebrate the tenth anniversary of the March on Rome.
Luigi Broggini makes a trip to Rome and comes into contact with the School of Via Cavour. He and Roberto Melli take part in the III Mostra d'arte del Sindacato regionale fascista Belle Arti di Lombardia (Biennale di Brera) at the Palazzo della Permanente in Milan.
Scipione dies at the age of 29 in the San Pancrazio sanatorium at Arco Trento.
[Marco Valsecchi, presentation of room V, in XXX Biennale Internazionale d’Arte di Venezia, cat., Stamperia di Venezia, Venice, 1960, p. 35]
Publication of the first issues of Quadrante, mensile di arte, lettere e vita, edited by Massimo Bontempelli and Pier Maria Bardi, and of Quadrivio, Grande settimanale letterario illustrato di Roma.
Alberto Ziveri holds his first solo show at the Galleria Sabatello in Rome.
Filippo de Pisis makes his first trip to London, followed by others in 1935 and 1938.
Solo show of Ottone Rosai at the Galleria delle Tre Arti in Milan, organized by Edoardo Persico with an inaugural presentation by Alberto Savinio and a closing address by Persico. Rosai moves to a new studio at number 49 Via San Leonardo in Florence.
[Elena Pontiggia, ‘Francesco De Rocchi’, in Il Chiarismo. Omaggio a De Rocchi. Luce e colore a Milan negli anni Trenta, ed. Elena Pontiggia, exh. cat. (Milan, Palazzo Reale, 16 June – 5 September 2010), Skira, Milan, 2010, p. 57]
Fausto Pirandello holds a solo show at the Galleria Milano in Milan.
Luigi Broggini, Renato Birolli and Aligi Sassu take part in the IV Mostra d'arte del Sindacato regionale fascista delle Belle Arti di Lombardia at the Palazzo della Permanente in Milan. Edoardo Persico organizes a show of work by Broggini at the Galleria delle Tre Arti in Milan.
The 5th Milan Triennial takes place. Mario Sironi decorates the Palazzo dell’Arte with frescoes and Corrado Cagli presents the large fresco Preludi alla guerra (Prelude to War). Mario Mafai takes part in the Mostra dell’Abitazione.
Roberto Melli, Giuseppe Capogrossi and Emanuele Cavalli are the signatories of the manifesto Del Primordialismo Plastico.
[Maurizio Fagiolo Dell’Arco, foreword to I Mafai. Vite parallele, ed. M. Fagiolo Dell’Arco, exh. cat. (Rome, Galleria Vetta Nespignani, February–March 1994), Edizioni Vetta Nespignani, Rome, 1994, p. 12]
Gigi Chessa produces the cover for an Italian edition of Kafka’s The Trial, published by Frassinelli in its Biblioteca Europea series.
Antonietta Raphaël returns to Rome after stays in Paris and in London, where she had gone to resume contact with old artistic acquaintances.
Ottone Rosai, Mario Mafai, Filippo de Pisis, Fausto Pirandello and Francesco De Rocchi take part in the XIX Venice Biennial.
The first meeting between Hitler and Mussolini takes place in Venice.
Aligi Sassu spends three months in Paris in contact with Filippo de Pisis, Alberto Magnelli, Massimo Campigli and Fernand Léger.
[Paolo Fossati, ‘Il ruolo di Gigi Chessa pittore’, in Gigi Chessa 1898-1935, exh. cat. (Turin, Mole Antonelliana, 14 November 1987 – 14 February 1988), Fabbri Editori, Milan, 1987, pp. 31–32]
Luigi Broggini takes part in the V Mostra del Sindacato interprovinciale fascista delle Belle Arti di Lombardia at the Palazzo della Permanente in Milan.
The dialogue between Renato Guttuso (in Milan in 1934 and 1935) and the Roman School continues with a show at the Galleria Il Milione including work by Corrado Cagli and Mario Mafai as well as the Sicilian Gruppo dei Quattro (Group of Four).
[Marisa Vescovo (ed.), Luci del mediterraneo, exh. cat. (Turin, Palazzo Bricherasio, 27 March – 29 June 1997), Electa, Milan, 1997, p. 169]
Ottone Rosai, Dentro la guerra, Quaderni di Novissima, Rome, 1934.
Bruno Cassinari and Italo Valenti are admitted to the Accademia di Belle Arti di Brera.
Mario Mafai shows work at the Wertheim Gallery in London and decides not to take part in the IV Mostra del Sindacato fascista Belle Arti del Lazio due to the absence of many leading Roman artists.
[Roberto Melli, cit. in the description of the work by Valerio Rivosecchi in Fazzini e Ziveri, ed. Netta Vespignani, exh. cat. (Rome, Galleria Nazionale d’Arte Moderna, 19 December 1984 – 3 February 1985), Electa, Milan, 1984, p. 28]
Start of the African campaign and the imposition of sanctions on Italy.
['Renato Birolli’, in Il Chiarismo Lombardo, ed. Renzo Margonari and Renzo Modesti, exh. cat. (Milan, Palazzo Bagatti-Valsecchi - Mantua, Casa del Mantegna, 1986), Vangelista, Milan, 1986, p. 109]
Italian troops cross the Ethiopian border and the League of Nations votes to impose sanctions on Italy for an attack on one of its member countries. Victor Emanuel III assumes the title of emperor of Ethiopia the following year.
Ottone Rosai takes part in an exhibition of contemporary Italian art in Warsaw and produces two mural panels for the new railway station in Florence.
Filippo de Pisis, Francesco De Rocchi, Carlo Levi, Francesco Menzio and Fausto Pirandello take part in L’Art Italien des XIXe et XXe siècles at the Jeu de Paume in Paris.
Beniamino Joppolo, ‘Renato Birolli’, Corriere padano, 22 June 1935.
The second Rome Quadrennial, held at the Palazzo delle Esposizioni, marks the triumph of the Roman School. The exhibition is normally limited to living artists but an exception is made to hold a retrospective of work by Scipione. Personal rooms are assigned to Mario Mafai, Fausto Pirandello and Corrado Cagli. The other participants include Ottone Rosai, Lugi Broggini, Roberto Melli, Alberto Ziveri, Filippo De Pisis, Francesco De Rocchi and Renato Guttuso (in Rome for the occasion). Francesco Menzio is a member of the selection panel.
Death of Gigi Chessa.
Fabrizia Lanza Pietromarchi (ed.), Renato Birolli 1935, exh. cat. (Verona, Galleria dello Scudo, 18 October 1996 – 23 November 1996), Edizioni Galleria Dello Scudo, Verona, 1996, pp. 31–32
Luigi Broggini takes part in the VI Mostra del Sindacato interprovinciale fascista di Belle Arti di Lombardia at the Palazzo della Permanente in Milan and the Mostra di bianco e nero at the Galleria Il Milione.
Wedding of Antonietta Raphaël and Mario Mafai.
Opening of the Galleria della Cometa, directed by Libero De Libero, in Rome.
Filippo de Pisis holds a solo show at the Zwemmer gallery in London.
Carlo Levi is interned in the town of Aliano in the province of Matera. This experience, which ends the following year, is followed by the introduction of a vein of realism with marked humanistic overtones into his painting.
Fausto Pirandello, Mario Mafai and Ottone Rosai are among the artists taking part in the Exhibition of Contemporary Italian Painting at the Museum of Honour in San Francisco (followed by other venues in the United States).
[Description of the work in Gli anni del Premio Bergamo. Arte in Italia intorno agli anni Trenta, exh. cat. (Bergamo, Galleria d’arte moderna e contemporanea e l’Accademia Carrara, 25 September 1993 – 9 January 1994, Electa, Milan, 1993]
Carlo Belli, Kn, Edizioni del Milione, Milan, 1935.
Italo Valenti’s passport is confiscated by the Fascist authorities on his return from a trip to Brussels and Paris, and not returned until 1946
Fausto Pirandello takes part in the editions of the International Exhibition of Paintings held at the Carnegie Institute in Pittsburgh from 1935 to 1939.
Renato Birolli makes his first trip to Paris, where he meets Lionello Venturi. During his military service in Milan, he meets Beniamino Joppolo and Renato Guttuso, who has a studio in the city.
[Paolo Rusconi, description of the work in Anni Trenta. Arti in Italia oltre il fascismo, ed. Antonello Negri, Silvia Bignami, Paolo Rusconi, Giorgio Zanchetti, exh. cat. (Florence, Palazzo Strozzi, 22 September 2012 – 27 January 2013), Giunti, Florence, 2012, p. 153]
The participants in the XX Venice Biennial include Ottone Rosai, Francesco De Rocchi, Filippo de Pisis, Renato Guttuso, Mario Mafai, Francesco Menzio and Fausto Pirandello, whose father Luigi Pirandello dies after visiting the event.
Carlo Carrà, ‘La VII Mostra Sindacale Lombarda alla Permanente’, L’Ambrosiano, anno XIV, no. 40, 15 February 1936.
The Principe Umberto prize is awarded jointly to Manzù and to Francesco De Rocchi for his painting La popolana lombarda. De Rocchi opens a studio in Milan the following year and lives there on a permanent basis as from 1940 in contact with Gio Ponti, Alfonso Gatto and Sergio Solmi.
The Galleria della Cometa holds solo shows of work by Roberto Melli (presented by Libero De Libero) and Alberto Ziveri (with an introduction in the catalogue by Roberto Melli).
Ottone Rosai holds a solo show and delivers a lecture at the Lyceum in Florence that is subsequently published under the title Difesa in the magazine Frontespizio.
Mario Mafai, Roberto Melli and Fausto Pirandello take part in the VII Mostra del Sindacato fascista del Lazio.
Signing of the agreement between Italy and Germany known as the Rome-Berlin Axis.
Aligi Sassu is arrested and serves an 18-month sentence for political conspiracy.
Works related to Carlo Levi’s internment in the region of Lucania are featured in his show at the Galleria Il Milione and in the one held the following year at the Galleria della Cometa.
[Maurizio Fagiolo Dell’Arco, foreword to I fiori di Mafai, ed. M. Fagiolo Dell’Arco, exh. cat. (Rome, Galleria Netta Vespignani, October–November 1989; Verona, Galleria dello Scudo, 9 December 1989 – 20 January 1990), Allemandi, Turin, 1990, p. 15]
Renato Birolli and Aligi Sassu take part in the VII Sindacale interprovinciale lombarda at the Palazzo della Permanente in Milan, which displays a more expressionist character and looks forward to the Corrente movement.
Death of Edoardo Persico.
Mario Mafai starts work on the reading room of the Casa del Balilla (Fascist Youth centre) in the Trastevere district of Rome, designed by the architect Luigi Moretti. Alberto Ziveri, Renato Marino Mazzacurati and Antonietta Raphaël are also involved in the decorations, which are completed in 1937.
Luigi Broggini takes part in the VII Mostra del Sindacato interprovinciale fascista Belle Arti di Lombardia at the Palazzo della Permanente in Milan.
The artists participating in the Mostra di pittura moderna italiana at Villa Olmo in Como include Francesco Del Bon, Filippo de Pisis and Ottone Rosai (with L'intagliatore).
Lamberto Vitali, Vincent Van Gogh, Hoepli, Milan, 1936.
Mussolini supports Franco by sending Fascist volunteers to fight on his side in the Spanish Civil War.
Planning begins for the Expo scheduled to be held in Rome in 1942. Mussolini inaugurates the Cinecittà film studio complex.
Renato Guttuso moves to Rome and stays in the house of the Marchesa Maria de Seta, owner of the Galleria Mediterranea in Palermo. It is there that he meets Maria Luisa Dotti, known as Mimise, who becomes his wife in 1950.
Alberto Ziveri goes on a trip around Europa and experiences the painting of Rembrandt, Goya and the Flemish masters first hand.
Show of work by Ottone Rosai and his pupils (Rosai Ottone e i suoi Allievi) at the Galleria Genova, then directed by Stefano Cairola (who subsequently shows works by the Corrente group). Francesco De Rocchi also holds a show there.
Luigi Broggini takes part in the VIII Mostra del Sindacato interprovinciale fascista Belle Arti di Lombardia at the Palazzo della Permanente in Milan.
Afro, Corrado Cagli, Mario Mafai, Fausto Pirandello and Alberto Ziveri take part in the VII Mostra del Sindacato Fascista Belle Arti del Lazio in Rome.
Paul Fierens, De Pisis, Chroniques du jour, Paris, 1937.
Ottone Rosai begins to frequent the large group of writers, including Eugenio Montale and Mario Luzi, who gather at the Giubbe Rosse café in Florence.
Hitler receives Mussolini in Berlin’s Olympic Stadium.
Introduction of the racial laws in Italy.
Ennio Morlotti makes his first trip to Paris and visits the Expo, where Picasso presents Guernica.
The series of events leading up to the Corrente group’s opposition to the Fascist regime includes the arrests of Aligi Sassu (sentenced to ten years but pardoned in 1938), Luigi Grosso, Renato Birolli (who spends six weeks in prison), Italo Valenti, Beniamino Joppolo and Giuseppe Migneco, who are released after a few days.
Sandro Bini, Metamorfosi - 46 disegni di Renato Birolli, Campo Grafico, Milan, 1937.
In Milan Ernesto Treccani founds the journal Vita Giovanile, subsequently renamed Corrente di Vita Giovanile and then Corrente (around which figures like Renato Birolli, Renato Guttuso and Aligi Sassu gather) until its closure by order of Mussolini in 1940. Vita Giovanile publishes the article ‘Pittura e pubblico’ by Arnaldo Badodi defending the intellectual and moral dignity of the artist and rebelling against the Fascist imposition of order.
[Elena Pontiggia, description of the work in Milan Anni Trenta. L’arte e la città, ed. E. Pontiggia and Nicoletta Colombo, exh. cat. (Milan, Spazio Oberdam, 2 December 2004 – 27 February 2005), Mazzotta, Milan, 2004, p. 228]
Renato Birolli holds a show at the Galleria Arcobaleno in Venice.
Ottone Rosai, Francesco De Rocchi, Mario Mafai and Alberto Ziveri take part in the XXI Venice Biennial.
[Marina Pizziolo, ‘Dobbiamo parlare agli uomini le parole della vita’, in Corrente. Le parole della vita. Opere 1930-1945, ed. M. Pizziolo, exh. cat. (Milan, Palazzo Reale, 18 June – 7 September 2008), Skira, Milan, 2008, p. 22]
Giuseppe Marchiori, ‘Filippo De Pisis’, Emporium, January 1938.
Filippo De Pisis, ‘La cosiddetta arte metafisica’, Emporium, XLIV, 11, November 1938
[Elena Pontiggia, ‘Gli artisti di Corrente. Tavole’, in Sassu e Corrente 1930/1943. La rivoluzione del colore, ed. E. Pontiggia and Alfredo Paglione, exh. cat. (Palazzo de’ Mayo/ S.E.T. Spazio Esposizioni Temporanee, 25 July – 7 October 2012), p. 74]
Adolf Hitler visits Italy and is greeted with military parades in Rome, Naples and Florence.
The IX Mostra di Pittura del Sindacato interprovinciale fascista Belle Arti di Milano at the Palazzo della Permanente in Milan prompts an article by Giuseppe Marchiori in the Corriere padano on young Milanese artists including Renato Birolli, Fiorenzo Tomea, Gabriele Mucchi, Aligi Sassu, Giacomo Manzù, Italo Valenti, Renato Guttuso, Giuseppe Migneco and Arnaldo Badodi.
[Nino Savarese (1938), cit. in Guttuso 1912-2012, ed. Fabio Carapezza Guttuso, Enrico Crispolti, exh. cat. (Rome, Complesso del Vittoriano, 12 October 2012 – 10 February 2013), Skira, Milan, 2012, pp. 28–29]
Nino Savarese, ‘Pittura di Renato Guttuso’, Corrente, anno I, no. 7, 30 April 1938.
Munich Conference between Hitler, Mussolini, Chamberlain and Daladier.
[Fabio Carapezza Guttuso, ‘La Rome di Guttuso’, in Guttuso 1912-2012, ed, F. Carapezza Guttuso and Enrico Crispolti, exh. cat. (Rome, Complesso del Vittoriano, 12 October 2012 – 10 February 2013), Skira, Milan, 2012, p. 30]
Renato Guttuso’s first solo show is held in Rome at the Galleria della Cometa, which is then closed down for showing the work of two Jewish artists, Corrado Cagli and Cecil Blunt, the husband of the Contessa Anna Letizia Pecci-Blunt.
Work by Filippo de Pisis, Renato Guttuso, Mario Mafai, Fausto Pirandello, Ottone Rosai and Scipione is shown in the second Rome Quadrennial.
[Carlo Betocchi, preface to 100 opere di Ottone Rosai, exh. cat. (Prato, Galleria d'Arte Falsetti, 1965), Edizioni Galleria d’Arte Falsetti, Prato, 1965, p. 8]
Prohibition of marriage between Jews and “Arians” and introduction of anti-Semitic measures to eliminate Jews from the education system, art exhibitions, state institutes of culture and public offices. Birth of the magazine Difesa della razza.
Giuseppe Marchiori, Scipione, Hoepli, Milan, 1938.
[G. di Genova, Storia dell’arte Italiana del ‘900 per generazioni. Generazione primo decennio, 11 ed., Edizione Bora, Bologna 1997, pg 175-176]
Roberto Melli, Fausto Pirandello and Antonietta Raphaël take part in the Terza Mostra del Sindacato regionale fascista Belle Arti del Lazio.
Filippo De Pisis, Poesie, Modernissima, Rome, 1939.
A celebration of Sicilian painting at the Teatro Massimo Vittorio Emanuele in Palermo with five shows including the IX Mostra Sindacale d’Arte, in which Renato Guttuso takes part.
Work by Filippo de Pisis, Renato Guttuso, Mario Mafai and Scipione is shown in San Francisco at the Golden Gate International Exhibition of Contemporary Art.
After a trip to Paris, Ennio Morlotti moves to Milan and studies under Aldo Carpi and Achille Funi at the Accademia di Brera. He soon joins the Corrente group.
Work by Filippo de Pisis, Mario Mafai, Fausto Pirandello and Scipione is featured in the Italian pavilion at the New York World’s Fair.
Ottone Rosai, ‘Le mie esperienze’, Il Tempo, 2 November 1939
[Lea Mattarella, ‘Mario Mafai e Antonietta Raphaël’, in Arte in due. Coppie di artisti in Europa 1900-1945, ed. L. Mattarella, Tulliola Sparani, exh. cat. (Turin, Palazzo Cavour, 14 March – 8 June 2003), Mazzotta, Milan, p. 177]
A solo show of Umberto Lilloni at the Galleria Grande in Milan coincides with a monograph on the artist by Emilio Radius. Guido Piovene uses the term chiarismo in his review of the show.
Ottone Rosai shows work at the Galleria Barbaroux in Milan.
Giuseppe Raimondi, ‘Dodici dipinti regalati da Filippo De Pisis alla R. Galleria d’Arte Moderna’, Le Arti, II, fasc. II, December 1939 – January 1940.
Filippo de Pisis returns to Milan and remains there until 1943.
Sandro Bini, ‘Arnaldo Badodi’, Corrente, anno II, no. 6, 31 March 1939.
Elena Pontiggia, ‘Tra Brera e Corrente. La prima stagione milanese di Valenti 1933-1943’, in Italo Valenti 1912-1995 il suo lirico candore, ed. Matteo Bianchi, exh. cat. (Milan, Museo della Permanente, 25 May – 8 July 2012), Pagine d’Arte, Tesserete, 2012, p. 38
Antonietta Raphaël is forced by anti-Semitic discrimination to move with her daughters to the region of Liguria, where she can count on the support of Emilio Jesi and Alberto Della Ragione. Mario Mafai frequently visits them there and meets Giacomo Manzù, Renato Guttuso and Renato Birolli through relations with the two collectors and shows at the Galleria Genova. He also holds a show at the Galleria Arcobaleno in Venice with a catalogue edited by Carlo Ludovico Ragghianti. Called up as a reservist, Mafai is stationed in Macerata, where he remains until 1942 (with periodical trips to Rome and Genoa).
Luigi Broggini is awarded the Fumagalli Prize by the Accademia di Brera, where Italo Valenti begins to teach a course on the nude.
Galeazzo Ciano and Joachim von Ribbentrop sign the Pact of Steel military alliance between Italy and Germany in Berlin.
The first two exhibitions organized by the journal Corrente di Vita Giovanile take place in Milan at the Palazzo della Permanente and the Galleria P. Grande. The artists taking part include Renato Birolli, Renato Guttuso, Mario Mafai and Fausto Pirandello.
Ottone Rosai, Alberto Ziveri, Filippo de Pisis, Renato Guttuso, Mario Mafai, Francesco Menzio and Fausto Pirandello take part in the third Rome Quadrennial.
Carlo Carena, ‘Italo e i suoi quadri’, in Italo Valenti. Catalogo ragionato dei paintings, ed. C. Carena and Stefano Pult, Skira, Milan, 1998, p. 10
Renato Guttuso, ‘Appunti’, Il Selvaggio, anno VIII, no. 9-10, 30 November 1939.
Creation of the Bergamo Prize (1939–42) by Giuseppe Bottai, Minister of Education, in opposition to the Cremona Prize (1939–41), founded by Roberto Farinacci.
First issue of Primato, edited by Giuseppe Bottai and Giorgio Vecchietti. The contributors include Mario Mafai, Ottone Rosai, Renato Guttuso and Filippo de Pisis.
Enotrio Mastrolonardo, ‘Nota su Arnaldo Badodi’, Meridiano di Roma, no. 4, 26 January 1941, p. IV
The journal Corrente is closed down for its critical stance towards the Fascist regime.
Aldo Capasso, ‘La condizione dell’arte’, Quadrivio, anno VIII, no. 44, August 1940.
[Elena Pontiggia, ‘Il ritratto a Milan 1929-1942. Opere’, in Carla Maria Maggi e il ritratto a Milan negli anni trenta, ed. E. Pontiggia, exh. cat. (Milan, Palazzo Reale, 15 June – 5 September 2010), Skira, Milan, 2010, p. 57]
Renato Guttuso, Virgilio Guzzi, Luigi Montanarini, Orfeo Tamburi, Pericle Fazzini and Alberto Ziveri hold a group show at the Galleria di Roma.
A show of work by Renato Birolli inaugurates the Bottega degli Artisti di Corrente in Via della Spiga 9, Milan, directed by Duilio Morosini. Alberto della Ragione, a naval engineer from Sorrento but Genoese by adoption, becomes the primary supporter of Corrente.
[Paolo Campiglio, ‘Le voyage di De Pisis’, in De Pisis en voyage. Rome, Parigi, Londra, Milan, Venezia, ed. P. Campiglio, exh. cat. (Parma-Mamiano di Traversetolo, Fondazione Magnani Rocca, 13 September – 8 December 2013), Silvana Editoriale, Milan, 2013, p. 37]
Luigi Broggini holds a solo show at the Galleria del Milione in Milan.
Renato Guttuso, Mario Mafai and Fausto Pirandello take part in the IX Mostra del Sindacato interprovinciale fascista Belle Arti del Lazio.
[Luigi Cavallo (ed.), Filippo De Pisis. Natura e contaminazione, exh. cat. (San Giovanni in Valdarno, Galleria Il Ponte, 10 November – 29 December 2001), Il Ponte, Florence 200]
Italian troops occupy Sollum and Sidiel-Barrani in Egypt.
Renato Guttuso holds a solo show at the Galleria Genova with a presentation by Alberto Moravia. Ottone Rosai also shows work there
[Giulia Lotti, description of the work in Guttuso ritratti e autoritratti, ed. Fabio Carapezza Guttuso and Dora Favatella Lo Cascio, exh. cat. (Bagheria, Museo Guttuso, 18 April – 21 June 2015), Ediguida, Cava de’ Tirreni (Salerno), 2015, pp. 142, 144]
Carlo Levi is forced to return to Italy after the German occupation of Paris.
Renato Guttuso, ‘Nota a Mafai’, Primato, anno I, no. 13, September 1940.
[Elena Pontiggia, ‘Gli artisti di Corrente. Tavole’, in Sassu e Corrente 1930-1943. La rivoluzione del colore, ed. E. Pontiggia, Alfredo Paglione, exh. cat. (Chieti, Palazzo de’ Mayo / SET Spazio Esposizioni Temporanee, 25 July – 7 October 2012), Umberto Allemandi & C., Turin-London-Venice-New York, 2012, p. 86]
Telesio Interlandi, ‘La condizione dell’arte’, Quadrivio, 1940.
Tripartite pact between Germany, Italy and Japan to establish a “new order” in Europe and Central Asia directed against the Soviet Union.
Enotrio Mastrolonardo, ‘Arnaldo Badodi’, Augustea, anno XV, no. 23-24, October 1940.
Alfonso Gatto, Luigi Broggini, Edizioni del Milione, Milan, 1940.
[Fabio Benzi, ‘Fausto Pirandello: From the Early Years to the Second World War’, in Fausto Pirandello 1899-1975, ed. F. Benzi, exh. cat. (London, Estorick Collection, 8 July – 6 September 2015), Estorick Foundation, London, 2015, p. 11]
Italy declares war on France and Great Britain. Hitler and Mussolini meet in Munich to agree on the conditions of an armistice for France.
Ottone Rosai, Filippo de Pisis, Renato Guttuso, Mario Mafai, Umberto Lilloni and Francesco Menzio take part in an exhibition of contemporary Italian painters and sculptors at the Kunsthaus in Zurich.
[Enrico Crispolti, ‘Attraverso e oltre il centenario, in Guttuso 1912-2012’, ed. E. Crispolti, Fabio Carapezza Guttuso, exh. cat. (Rome, Complesso del Vittoriano, 12 October 2012 – 10 February 2013), Skira, Milan, 2012, p. 69]
Mario Mafai shows work in Milan at the Galleria Barbaroux.
Mario Mafai wins the Bergamo Prize with Renato Guttuso in third place.
[Anna Maria Ruta, ‘Percorsi culturali e strutture linguistiche negli scritti del giovane Guttuso’, in Renato Guttuso. Gli anni della formazione 1925-1940, ed. Anna Maria Ruta, Enrico Crispolti, exh. cat. (Catania, Galleria d'Arte Moderna de “Le Ciminiere”, 6 April – 27 May 2001), Silvana Editoriale, Milan, 2001, p. 31]
Albino Galvano, ‘Francesco Menzio’, Le Arti, May 1940
The journal Corrente is closed down for its critical stance towards the Fascist regime.
[Elena Pontiggia, ‘Il ritratto a Milan 1929-1942. Opere’, in Carla Maria Maggi e il ritratto a Milan negli anni trenta, ed. E. Pontiggia, exh. cat. (Milan, Palazzo Reale, 15 June – 5 September 2010), Skira, Milan, 2010, p. 60]
Renato Birolli. Trenta tavole in nero, una a colori e cinque disegni, con scritti dell'autore e un testo critico di Sandro Bini, Edizioni di Corrente, Milan, 1941.
[Elena Pontiggia, Artisti di Corrente 1930/1990, ed. E. Pontiggia, exh. cat. (Busto Arsizio, Museo delle Arti di Palazzo Bandera, 16 November 1991 – 12 January 1992), Vangelista, Milan, 1991, p. 8]
Italo Valenti holds his first shows at the Galleria Genova with Luigi Broggini and the Bottega di Corrente in Milan, presented by Luciano Anceschi.
Germany and Italy declare war on Yugoslavia. Joint German and Italian offensive in Greece.
Arnaldo Badodi shows work at the Galleria della Spiga in Milan. A larger solo show is held the same year at the Galleria Genova, where Mario Mafai and Aligi Sassu also exhibit work.
Podestà, ‘Luigi Broggini e Italo Valenti’, Emporium, anno XLVII, no. 9, Istituto Italiano d’Arti Grafiche, Bergamo, September.
[Mario De Micheli, ‘Gli anni di Corrente’, in Corrente: il movimento di arte e cultura di opposizione 1930 1945, ed. M. De Micheli, exh. cat. (Milan, Palazzo Reale, 25 January – 28 April 1985), Vangelista, Milan 1985, p. 104]
Enotrio Mastrolonardo, ‘Nota su Arnaldo Badodi’, Meridiano di Rome, anno VI, no. 4, January 1941.
G. Scheiwiller (a cura di), Ottone Rosai, Hoepli, Milano 1941.
[Elena Pontiggia, ‘Gli artisti di Corrente. Tavole’, in Sassu e Corrente 1930-1943. La rivoluzione del colore, ed. E. Pontiggia, Alfredo Paglione, exh. cat. (Chieti, Palazzo de’ Mayo / SET Spazio Esposizioni Temporanee, 25 July – 7 October 2012), Umberto Allemandi & C., Turin-London-Venice-New York, 2012, p. 74]
The Bottega di Corrente exhibits numerous works from Aligi Sassu’s Uomini rossi series and hosts a solo show of Giuseppe Migneco.
Ottone Rosai serves on the jury of the Bergamo Prize and shows work in Turin at the Società Amici dell'Arte.
[Giovanni Anzani, ‘La prima attività di Bruno Cassinari (1930-1950). Da Milan ad Antibes via Parigi’, in Cassinari. Catalogo generale dei dipinti, ed. Marco Crisci, vol. I, Electa, Milan, 1998, p. 14]
Condition reports realizzato dalla Dott.ssa Luisa Mensi prima della mostra al Palazzo Storico del Credito Bergamasco: Italia 1920-1945. Da de Pisis a Guttuso, da Sassu a Vedova. La Collezione Giuseppe Iannaccone. Dal 4 maggio al 9 giugno 2017.
Arrest of Luigi Broggini for anti-fascist activities during a visit to his mother in Ligurno near Varese. A show of his ceramics is held at the Galleria Il Milione in Milan (Mostra di ceramiche dello scultore Luigi Broggini).
Renato Guttuso, ‘Una mostra di Pirandello’, Primato, II, no. 6, March 1941.
[Paolo Campiglio (ed.), De Pisis en voyage. Roma, Parigi, Londra, Milano, Venezia, exh. cat. (Parma-Mamiano di Traversetolo, Fondazione Magnani Rocca, 13 September – 8 December 2013), Silvana Editoriale, Milan, 2013, p. 38]
Posthumous exhibition Scipione. Cinque tricromie raccolte dal Centro di azione per le arti at the Pinacoteca di Brera in Milan with a critical study by Antonino Santangelo.
Mario De Micheli, ‘Commento a Birolli’, Architrave, anno I, no. 8, 1941.
[Elena Pontiggia, ‘Gli artisti di Corrente. Tavole’, in Sassu e Corrente 1930-1943. La rivoluzione del colore, ed. E. Pontiggia, Alfredo Paglione, exh. cat. (Chieti, Palazzo de’ Mayo / SET Spazio Esposizioni Temporanee, 25 July – 7 October 2012), Umberto Allemandi & C., Turin-London-Venice-New York, 2012, p. 86]
Birolli, Edizioni di Corrente, Milano 1941.
Mario Mafai is transferred from Macerata to the Celio barracks in Rome. An article by him entitled ‘La mia pittura’ appears in Tempo. He also publishes some letters received from Scipione in 1932 in Prospettive (no. 25-27).
[Elena Pontiggia, ‘Gli artisti di Corrente. Tavole’, in Sassu e Corrente 1930-1943. La rivoluzione del colore, ed. E. Pontiggia, Alfredo Paglione, exh. cat. (Chieti, Palazzo de’ Mayo / SET Spazio Esposizioni Temporanee, 25 July – 7 October 2012), Umberto Allemandi & C., Turin-London-Venice-New York, 2012, p. 94]
The collecter Alberto della Ragione come to the financial aid of the Bottega degli Artisti di Corrente, which is renamed the Galleria della Spiga e Corrente and holds shows of work by Scipione and Emilio Vedova.
Renato Guttuso’s Crocifissione (Crucifixion) is placed second in the fourth and last edition of the Bergamo Prize, which is awarded to Francesco Menzio.
Luigi Broggini is awarded the Ministry of Education’s first prize for his artistic activity but is unable to receive it because he is still in prison.
Giulio Carlo Argan, ‘Pitture di De Pisis’, Primato, January 1942.
[Giuseppe Appella, ‘Ferrara, Genova, Roma: Percorsi formativi di Melli’, in Roberto Melli 1885-1958, ed. G. Appella and Maurizio Calvesi, exh. cat. (Macerata, Palazzo Ricci, 13 June – 15 October 1992), Leonardo De Luca, Rome, 1992, pp. 14–15]
Filippo De Pisis, Poesie, Vallecchi, Florence, 1942.
Renato Guttuso, Mario Mafai, Fausto Pirandello and Alberto Ziveri are among the artists taking part in the X Mostra del Sindacato Interprovinciale fascista Belle Arti del Lazio in Rome.
'Badodi’, Sette Giorni, anno VIII, no. 21, May 1942.
Filippo de Pisis and Fausto Pirandello take part in the XXIII Venice Biennial.
[Marina Pizziolo, ‘Dobbiamo parlare agli uomini le parole della vita’, in Corrente. Le parole della vita. Opere 1930-1945, ed. M. Pizziolo, exh. cat. (Milan, Palazzo Reale, 18 June – 7 September 2008), Milan, Skira, 2008, p. 30]
Renato Birolli holds a solo show at the Galleria della Spiga in Milan.
Albino Galvano, Enrico Paulucci, Edizioni di Documento, Rome, 1942.
Bruno Cassinari and Ennio Morlotti take refuge from Fascist roundups at Mondonico in Lombardy and embark on a period of joint work that continues until 1946.
Ottone Rosai takes part in the first show at the Galleria del Cavallino in Venice and obtains the chair in painting at the Accademia di Belle Arti in Florence.
[Marco Lorandi, description of the work in Gli anni del Premio Bergamo. Arte in Italia intorno agli anni Trenta, Marco Lorandi et al., exh. cat. (Bergamo, Galleria d’Arte Moderna e Contemporanea e Accademia di Carrara, 25 September 1993 – 9 January 1994), Electa, Milan, 1993, p. 233]
Vincenzo Costantini, ‘Corrente’, Emporium, anno XLVIII, no. 1, January 1942.
Raffaello Franchi, Disegni di Ottone Rosai, Hoepli, Milan, 1942.
Antonietta Raphaël obtains a space at the Accademia di Belle Arti in Rome with the help of Mino Maccari but moves back to Genoa due to financial difficulties.
Mino Rosi, ‘Prefazione a Renato Guttuso’, Il Campano, no. 1-2, January-February, 1942.
[Fausto Pirandello, cit. in Beatrice Marconi, ‘Luigi Pirandello pittore. “Spontaneità” e “sincerità”’, in Fausto Pirandello “La vita attuale e la favola eterna”, ed. Maurizio Fagioli dell’Arco, exh. cat. (Rome, Palazzo delle Esposizioni, 20 October 1999 – 10 January 2000), Edizioni Charta, Milan, 1999, p. 31]
Exhibition of the Rino Valdameri Collection at the Galleria di Roma with works by Filippo de Pisis, Mario Mafai, Fausto Pirandello, Ottone Rosai and Scipione.
Arnaldo Badodi is called up and sent to the Russian front, where he is taken prisoner and dies the following year in a POW camp near Moscow.
Flavia Matitti, ‘Tra poetica e iconologia. Donne con salamandra e altre storie’, in Fausto Pirandello. Catalogo generale, ed. Claudia Gian Ferrari, Electa, Milan, 2009, p. 22
Mario Mafai and Antonietta Raphaël leave Genoa with their daughters and return to Rome.
Gio Ponti invites artists including Giorgio de Chirico, Achille Funi, Filippo de Pisis, Pompeo Borra, Aligi Sassu and Francesco De Rocchi to work on the decoration of a newly built villa at Cervignano d’Adda (Lodi).
Ennio Morlotti redige con Ernesto Treccani il Primo Manifesto
di Pittori e scultori.
Filippo de Pisis, Renato Guttuso, Mario Mafai, Francesco Menzio, Fausto Pirandello, Ottone Rosai, Emilio Vedova and Alberto Ziveri take part in the IV Rome Quadrennial.
Filippo De Pisis moves to Venice after the bombing of Milan and remains there until 1948.
Badoglio announces the armistice and abandons Rome together with the royal family.
Show of work by Mario Mafai and Scipione at the Galleria Il Ponte in Florence.
Victor Emanuel II informs Mussolini of his destitution at the Villa Savoia. The Duce is arrested and the country is placed under the military government of Marshal Pietro Badoglio.
German parachutists free Mussolini from imprisonment on the Gran Sasso mountain. Birth of the Fascist Republic of Salò, recognized and protected by Germany.
Renato Guttuso leaves Rome to play an active part in the Resistance for two years.
American, British and Canadian allied forces land in Sicily
Show of work by Renato Guttuso at the Galleria dello Zodiaco in Rome in collaboration with the Galleria della Spiga. Work by Renato Guttuso, Mario Mafai, Fausto Pirandello, Emilio Vedova and Scipione is also shown at the Zodiaco in the exhibition Undici pittori romani. The same year sees a show of Mafai and Manzù with a presentation by Alberto Moravia.
Ottone Rosai shows work at the Galleria Cairola in Milan. He is attacked and insulted by a group of anti-fascists during the same year.
Italo Valenti refuses to continue teaching after the institution of the Fascist Republic of Salò and takes refuge at Porcia in the Veneto region.
Mafai (in the series Quaderni del Disegno Contemporaneo), Edizioni della Galleria della Spiga e Corrente, Milan 1943, with a preface by Antonino Santangelo.
Show of work by Bruno Cassinari, Ernesto Treccani and Ennio Morlotti at the Nuova Galleria della Spiga e Corrente in Milan.
Work by Filippo de Pisis, Mario Mafai, Renato Guttuso, Fausto Pirandello, Ottone Rosai and Scipione is shown in the Esposizione d'Arte Contemporaneo. Exhibition of Contemporary Italian Art at the Galleria Nazionale d'Arte Moderna in Rome.
Carlo Carena, ‘Italo e i suoi quadri’, in Italo Valenti. Catalogo ragionato dei paintings, ed. C. Carena and Stefano Pult, Skira, Milan, 1998, pp. 10–11
Renato Guttuso starts work on his anti-Fascist and anti-Nazi painting Gott mit uns (1944–45).
Giuseppe Montanari, ‘Le sculture di Broggini, Cronaca Prealpina, 5 November 1944.
Alessandro Parronchi, Nomi della pittura italiana contemporanea, Edizioni Arnaud, Florence, 1944.
Mario Mafai leaves for Naples, where he is elected vice president of the organizing committee of the Libera Associazione delle Arti Figurative. The president of the association is Gino Severini and the members include Giuseppe Capogrossi, Renato Guttuso, Mirko, Toti Scialoja and Alberto Ziveri.
The Allies enter Rome.
Alfonso Gatto, Luigi Broggini, II ed., Edizioni del Milione, Milan, 1944.
Giuseppe Marchiori, Disegni di Scipione, Istituto Italiano d’Arti Grafiche, Bergamo, 1944.
Work by Mario Mafai, Fausto Pirandello, Ottone Rosai and Scipione is shown in 25 Artisti del Secolo at the Galleria del Secolo in Rome.
Antonietta Raphaël returns to Genoa.
Ottone Rosai explains his activities during the Fascist regime and gradual detachment to the president of the national liberation committee. He is suspended from his teaching post at the academy.
A reading of Carlo Levi’s text Paura della pittura (written in July 1942) is broadcast by Radio Firenze.
Luigi Broggini takes part in the Esposizione d’arte contemporanea at the Galleria Nazionale d’arte moderna.
Mussolini is caught by partisans after fleeing to Como and executed in Piazzale Loreto, Milan.
Dario Micacchi, ‘Alberto Ziveri: lo sguardo e le cose’, in Alberto Ziveri, exh. cat., Galleria d’Arte Moderna Sangallo, Florence, 1964
Publication of the book Cristo si è fermato a Eboli, written by Carlo Levi during his wartime period of clandestine activities in Florence.
Work by Renato Birolli, Filippo de Pisis, Renato Guttuso, Roberto Melli, Fausto Pirandello and Ottone Rosai is shown in the exhibition Artisti Moderni alla Galleria del Secolo in Rome.
Emilio Vedova shows work at the Galleria Venezia and later at the Galleria del Pioppo in Mantua.
Bruno Cassinari and Ennio Morlotti design a poster for the International Workers’ Day.
L. Anceschi (a cura di), Migneco. Dodici tavole in nero a otto colori, Galleria Santa Radegonda, Milano 1945.
Roberto Melli starts teaching at the Accademia di Belle Arti in Rome.
Mario Mafai holds shows at the Galleria dell’Arco in Venice as well as the Secolo and the Zodiaco in Rome.
Mario Mafai, ‘Possibilità per un’arte nuova’, Rinascita, no. 3, March 1945.
Umbro Apollonio presents work by Scipione at the Galleria del Cavallino in Venice.