The twentieth century and the Etruscans, a path to discover at the Rovoli Foundation – Milan

Milan – de Askoi Etruschi, the containers in which the old ones kept the oily liquids, reliving in the gold and porcelain barrels that Gio Ponti made in the 1920s, while the Shouting lion By Mirko Basaldella (1957), Chimera of the twentieth century, the connection between Etruscan art and experiments embodies.
These are just a few of the dialogues of Etruschi of the twentieth centuryA project made in collaboration with the Mart of Rovereto, which continues the Luigi Rovoli Foundation in Milan today, 30 April, 30 August, the path that is started by the Mart of Rovereto in a new separate and complementary stage.
A selection of iconic works emphasizes the influence that is exerted by the Etruscan culture on the Italian artists of the twentieth century. So the archaeological walk of Gio Ponti and Libero Andreotti – built in the second half of the 1920s and on loan of the Poldi Pezzoli Museum of Milan – echoes of an Etruscan cyst, container to store bronze jewelry and cosmetics from the Etruscan National Museum of Villa Giulia.
The work of Leoncillo Leonardi instead embodies a powerful and dramatic reinterpretation of the famous sarcophagus of the spouses of Villa Giulia, located next to the precious coverage of Cineraria Urn, on loan of the archaeological park of Cerveteri and Tarquinia.

Etruschi of the twentieth century, Set -Up | Photo: © Portanome for the Luigi Roboli Foundation

If the Warhol Room of the Noble Plan follows the fortune of the Etruscans, rare art volumes, magazines, graphic works and posters dedicated to the Etruscan culture published at the end of the nineteenth century until the eighties of the twentieth century, De Witte Space shows the series for the first time Chance By Paolo Gioli (1984) E Covers (1985) by Alighiero Boetti, non -published work of the collection of the Luigi Rovoli Foundation.
Gioli uses his polaroids to fulfill the identity of the Etruscan faces that are depicted on the C against -Rams that give new vitality to marble faces without color, while Boetti carefully re -designs the covers of important international newspapers, creating a map of the historical events of the year.

“The Luigi Rovoli Foundation – comments Giovanna Forlanelli, president of the foundation – places the Etruscan civilization in its complexity and modernity in the center of its cultural project. Etruschi of the twentieth century It is part of this complexity and shows how this civilization, often considered marginal compared to classical culture, instead, precisely because of its “anti -lassicism”, a source of inspiration for artists looking for an original language far from the most traditional aesthetic guns “.

Etruschi of the twentieth century, Set -Up | Photo: © Portanome for the Luigi Roboli Foundation

The exhibition also opens a maximum of two important collaborations with Villa Necchi Campiglio and with the Museum of the twentieth century of Milan. For conservative reasons, The dead lover By Arturo Martini (1921-22) and the People By Marino Marini (1929) – Works that fall entirely in the reflection on the influence of the Etruscans in the twentieth century – are not exposed in the exhibition offices, but are part of the project and remain in the usual spaces they host.

“The entire twentieth century – comments Vittorio Sgarbi, president of the Mart – is crossed by an ‘Etruscan fever’ that goes from Martini to Serafini and that a non -classical but expressionist, deforming path of the art of the twentieth century, a real aesthetics of timeless distortions”.