{"id":2509,"date":"2025-06-23T10:17:52","date_gmt":"2025-06-23T09:17:52","guid":{"rendered":"https:\/\/www.palazzocucchiari.it\/uncategorized\/mostra-in-gioco-illusione-e-divertimento-nellarte-italiana-1850-1950-da-sabato-28-giugno-a-palazzo-cucchiari\/"},"modified":"2025-06-23T10:39:27","modified_gmt":"2025-06-23T09:39:27","slug":"exhibition-in-gioco-illusion-and-fun-in-italian-art-1850-1950-from-saturday-28-june-at-palazzo-cucchiari","status":"publish","type":"post","link":"https:\/\/www.palazzocucchiari.it\/en\/events\/exhibition-in-gioco-illusion-and-fun-in-italian-art-1850-1950-from-saturday-28-june-at-palazzo-cucchiari\/","title":{"rendered":"Exhibition ‘In gioco. Illusion and fun in Italian art 1850-1950’, from Saturday 28 June at Palazzo Cucchiari"},"content":{"rendered":"

Games and Artistic Illusions: from Lega and Carr\u00e0 to Casorati and Manz\u00f9<\/h1>\n

Curated by Massimo Bertozzi<\/h4>\n
\"Angelo
Angelo Dall\u2019Oca Bianca, The Masks (Politics), 1905<\/figcaption><\/figure>\n

Following the evocative exhibition on the 20th century in Carrara and the rediscovery of the Italian Belle \u00c9poque<\/em>, for summer 2025, the Giorgio Conti Foundation is presenting the exhibition In gioco. Illusione e divertimento nell\u2019arte italiana 1850\u20131950<\/em> at Palazzo Cucchiari in Carrara, opening Saturday, June 28 and running until Sunday, October 26, 2025.<\/strong> More information available at mostraingioco.it<\/a><\/p>\n

Curated by Massimo Bertozzi, the exhibition promises to be a major event, with impressive numbers and truly surprising content.<\/strong><\/p>\n

Approximately 110 works will be on display\u2014including bronze and wooden sculptures\u2014by around 80 artists, 56 of whom have never been exhibited at Palazzo Cucchiari before<\/strong>, confirming once again its status as one of the top venues for temporary exhibitions focused on the 20th century.<\/p>\n

The quantity of works and artists is matched by their quality. Highlights include Girls Pretending to Be Ladies<\/em>, an 1872 oil on canvas by Silvestro Lega<\/strong> from the Istituto Matteucci in Viareggio; The Carriage<\/em>, painted by Carlo Carr\u00e0<\/strong> in 1916, from the MART in Rovereto; a 1911 portrait of Cesare Lionello<\/em> by Felice Casorati<\/strong>; The Carnival Wagon<\/em> by Alberto Capogrossi<\/strong>, on loan from the Presidency of the Republic; and The Gypsies<\/em> by Massimo Campigli<\/strong>. Notable sculptures include The Wandering Singer<\/em> by Medardo Rosso<\/strong>, The Ballerina<\/em> by Giacomo Manz\u00f9<\/strong> (1938), The Swimmer<\/em> by Marino Marini<\/strong>, The Wrestler<\/em> by Emilio Greco<\/strong>, and The Racewalker<\/em> by Francesco Messina<\/strong>.<\/p>\n

Ultimately, the team at Palazzo Cucchiari has created a kind of \u201camusement park\u201d told through a corpus<\/em> of artworks that spans from children mimicking adults in the paintings of Lega<\/strong> or Gioacchino Toma<\/strong>, to the proud or disappointed boys with their toys in works by Fausto Pirandello<\/strong> or Riccardo Francalancia<\/strong>; where traditional games like hoop rolling live on in Massimo Campigli<\/strong>\u2019s paintings; where the miniature world of toys appears in works by Casorati<\/strong> and Corrado Cagli<\/strong>; and where the archaic world of jugglers, circus folk, and carnival masks is immortalized by Mos\u00e8 Bianchi<\/strong>, Gino Severini<\/strong>, Capogrossi<\/strong>, Alberto Donghi<\/strong>, Primo Conti<\/strong>, and Antonio Ligabue<\/strong>. The exhibition concludes with depictions of sports and challenges of fate, featuring the Futurist dynamism of Mario Sironi<\/strong>, Gerardo Dottori<\/strong>, and Roberto Iras Baldessari<\/strong>, the modern truths of Carr\u00e0<\/strong>, the playful plasticity of Medardo Rosso<\/strong>, and the athletic feats of Francesco Messina<\/strong> and Marini<\/strong>.<\/p>\n

\"Gioacchino
Gioacchino Toma, Little Patriots, 1862<\/figcaption><\/figure>\n

The exhibition is divided into four thematic sections<\/strong>, not arranged chronologically: it begins with \u201cEveryday Pastimes and Recreation\u201d, followed by \u201cGrowing Up and Learning: Child\u2019s Play\u201d, \u201cEntertainment and Shows: The Invention of Leisure Time\u201d, and finally \u201cChallenges, Competition, and Fate\u201d.<\/p>\n

According to Roger Caillois, for every artist, play is an \u201cuncertain island\u201d\u2014that is, as curator Massimo Bertozzi<\/strong> explains, \u201ca middle ground, between a reality forced to conform to the organization and rules of everyday life and an elsewhere, fictional but inspired by reality, where rules have been reorganized and rewritten. A \u2018magical reality\u2019 where the curiosity of discovery, the joy of invention, and the flair of creativity negotiate with the conventions that bind rule and whim together\u2014the same dialectical tension that unites play and art.\u201d<\/em><\/p>\n

 <\/p>\n

But why play?<\/strong><\/h2>\n

Play is, above all, a children\u2019s activity: they enjoy mimicking adult \u201cgames\u201d and thus learn the \u201ccraft of living\u201d, of growing up.<\/p>\n

\"Giovanni
Giovanni Sottocornola, The Reading, 1910<\/figcaption><\/figure>\n

Play is a free and separate activity, in a closed context and within a limited time; in this sense, it is recreational\u2014like children\u2019s play\u2014and it shares many affinities with the creative work of artists.<\/p>\n

If playing is pretending to live differently, then painting and sculpting are like playing in another way.<\/p>\n

In their mindset and behavior, artists are somewhat like children: they work with imagination and fantasy, and their creative instinct follows only self-imposed rules\u2014just like any other \u201crule of the game\u201d.<\/p>\n

Play appears in the painting of every era, though almost always with allegorical intent, never for its own sake: there\u2019s a stark difference between the ethical message of Caravaggio\u2019s players and the social commentary of 18th-century French paintings of gamblers.<\/p>\n

Only in the 19th century\u2014the age of history, realism, and modernity\u2014do artists begin to focus on play as just one of many human activities: a diversion, a pleasant pastime, a break from \u201cdaily worries\u201d for everyone\u2014aristocrats and peasants, priests and soldiers, women and children.<\/p>\n

With the dawn of the new century, artists too feel the call to regenerate the human condition. Many aspire to a new world, driven by a desire to return to nature, nostalgic for a lost paradise, yearning to escape reality, and especially longing for childhood\u2014the age of innocence\u2014destined inevitably to be portrayed as the age of play.<\/p>\n

\"Silvestro
Silvestro Lega, Girls Pretending to Be Ladies, 1872<\/figcaption><\/figure>\n

It\u2019s as if there\u2019s a need to make up for the damages of modernity, which created new forms of escapism by institutionalizing old forms of entertainment: street games, circus acts, and live performances\u2014from commedia dell\u2019arte to classical theater, and the popularization of music, which evolved from salon music to tabarin<\/em> and caf\u00e8 chantant<\/em>, or by reviving the \u201cworld turned upside down\u201d of carnival.<\/p>\n

Thus, society discovers \u201cleisure time\u201d, which in a dynamic and entrepreneurial culture cannot remain \u201cwasted time\u201d but must be transformed into socially useful and productive time.<\/p>\n

Artists devoted themselves to this, with a narrative intent that was amused before being amusing, often unconcerned with avant-garde trends, extending playful allusions from Verismo well into the introspective and primitive retreats of the \u201cdifficult years\u201d.<\/p>\n

\"Plinio
Plinio Nomellini, Family Scene, 1912<\/figcaption><\/figure>\n

Soon enough, play itself, as challenge and competition, evolved into a form of performance\u2014with the rise of all types of sports and the legalization of lotteries and casinos.<\/p>\n

The cult of speed, the thrill of risk, and the emerging phenomenon of sports fandom made sports and gambling defining aspects of 20th-century Italy\u2014an ever-present source of inspiration for artists, whether through the distorting lens of the avant-garde or the structured formalism of the Italian Novecento<\/em> movement\u2014who found in the world of play specific themes for both promoting and critiquing the quality of modern life.<\/p>\n","protected":false},"excerpt":{"rendered":"

Games and Artistic Illusions: from Lega and Carr\u00e0 to Casorati and Manz\u00f9 Curated by Massimo Bertozzi Angelo Dall\u2019Oca Bianca, The […]<\/p>\n","protected":false},"author":1,"featured_media":2511,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[],"class_list":["post-2509","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events"],"yoast_head":"\nExhibition 'In gioco. 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