“Of all the clothes and dressing gown Madame de Guermantes wore, those who appear to me as bearing a special meaning, were the ones made by Fortuny on the basis of ancient Venetian drawings.” As Marcel Proust writes in this passage of “The Prisoner”, where even the fugitive Albertine is touched by (...)

Shot at the beginning of the Fifties in Palazzo Pisani, a life size-picture portrays Carlo Cardazzo with his arms leaned over Marino Marini’s sculpture of a small horse. “Cavallino”, small horse in Italian, will be the real tutelary deity of most of the dealer’s undertakings in contemporary art. (...)

The sorrow of the outcasts, or those speaking for them. Included artists who feel misinterpreted and consequently withdraw their works. A long series of preconceived stands, legal threats, assumptions of ideologism. On the invitation Francesco Clemente’s fist. All the above are the prior events, (...)

Vast immensity of land, almost endless. A feeling of unfinished grandiosity leading to optimism. The American painters of the first half of the Nineteenth Century express the love for their homeland by means of strong wide brushstrokes driven by their vigorous pioneers’ spirit. They are part of (...)

The opening sees Pope Paul III grabbing look on the world, his hands-claws holding the chair on which he’s seating; it’s 1543. This is the date from which we start the 20 year journey in the oceanic activity of the greatest of painters. The last, the very last, Titian is enshrined in the (...)

Enormous silhouettes: stretched and curled female nudes, so violent and real. Bodies as faces, the color of flesh and its the decay. Luigi Tito (1907-1991) is a painter of the human body; he takes its graphic expression to the limits. His gestures are instinctive, unmediated, close to reality. (...)

Claiming unfelt affiliation, loosing one’s own truth running after successful clichés, dazed by comfortable excitement in the attempt to reach easy success at any cost. Guido Cadorin (1892-1976), one of the most elegant and original Venetian painters of the nineteenth century managed to escape (...)

A winged woman, thoughtfully crouched down, surrounded by mysterious objects. The gloomy, saturnine look of the Melancholy I; the most famous and “contagious” of the engravings by Albrecht Durer. A small piece of paper with an incredible density as to symbols and details. The title is inscribed (...)