Italy in US 2013Ministero degli esteri
With the support of the Corporate AmbassadorseniIntesa Sanpaolo
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Dream of Rome Capitoline Brutus


January 18 - May 1, 2013

Boston Museum of Fine Arts


As part of the Dream of Rome initiative (masterpieces from ancient Rome in major U.S. museums), Boston’s Museum of Fine Arts hosts one of the most previous works from the collections of Rome’s Capitoline Museums, the Capitoline Brutus, one of the most ancient bronzes from the Roman era.


Conserved in the Conservator’s Apartment Hall of Triumphs of the Capitoline Museum, the magnificent bronze bust was donated to the Roman museum by Cardinal Pio de Carpi in 1564. 


The bust depicts Lucius Junius Brutus, one of the first Roman consuls: cropped beard, hair falling irregularly over the forehand, sculpted cheeks and razor sharp eyes convey an aspect of extreme pride.

Despite the extraordinary expression of the Brutus, one of the most ancient Roman bronzes, only the head is original, and likely it was originally part of a larger statue since lost.

The interpretation that identifies the bust with Lucius Junius Brutus, the mythical founder of the Roman Republic, results from a comparison of the bust with the etching on coins from 59 to 43 BC commissioned by his descendant, Marcus Junius Brutus, Caesar’s assassin. 

This attribution is debated however. According to some, the person depicted could be from a later period. 

The exhibit in Boston provides the U.S. public with the opportunity to admire the extraordinary force, as well as the expression of gravitas and tension typical of the Roman nobility.




Albrecht Dürer, Self-portrait of the Artist, 1498 (detail)
Albrecht Dürer, Self-portrait of the Artist, 1498 (detail)

Imagining the Renaissance: Albrecht Dürer and Italy


Lecture by Alice Jarrard with musical interludes by Capella de la Torre


May 7, 2013

Washington DC

Embassy of Italy


Albrecht Dürer's relationship to Italy inspired him, of course, but also Italians in his own time, writers reimagining the Italian Renaissance in the late 19th century, and thinkers today. This talk, by art historian Alice Jarrard, starts by examining Dürer's role in the 19th-century construction of the Renaissance as a historical phenomenon, and then looks closely at a few of Dürer's works and their complicated relationship to Italian art and culture.

German ensemble Capella de la Torre is renowned for their performances centered around historical double-reed instruments.


Presented in collaboration with the Goethe Institut.


More info and reservations available here:


Myth and Archaeology in the work of Giorgio De Chirico


Nineteen sculptures from the artist's first period and ten drawings illustrating De Chirico's mythology


April 13, 2013 - June 15, 2013

Washington DC, The Phillips Collection


We cannot unlock the present until we have unlocked the past. 
The composition of Giorgio De Chirico’s metaphysical images and the golden patina of his sculptures take visitors to the museum on a path to the metaphysical and mythological--discovering the present by exploring and reinterpreting the past.


Giorgio De Chirico (1888-1978) is one of the most influential Italian artists of the twentieth century. His work, together with that of Carrà whom he met in 1916, gave birth to the movement known as metaphysical art.  He became its leading exponent, combining traditional architectural perspectives and human shaped forms in a dimension that suggests an alternative reality. In fact, use of the term metaphysics is born as allusion to a reality that goes beyond physical reality and reinterprets familiar spaces and objects, generating a new reality that is enigmatic and mysterious, carrying impenetrable secrets.
De Chirico’s revolution does not stop at the movement he founded. One of the artist’s greatest innovations is his instinctive return to the past in exploring and sometimes even reinventing the present.  Figures from mythology, archeological artifacts and glorious historical events are both inspiration and tools in the dialectic between recollection and invention.
In a year dedicated to its culture, communicating an Italy looking to the future yet cognizant of its roots and past, the paintings and sculptures of the visionary De Chirico are a must. A journey to discover the greatness and genius of De Chirico through the exhibition of 19 sculptures and ten drawings that narrate his creative genius.


More info:


Bice Lazzari - Selfportrait
Bice Lazzari - Selfportrait

Bice Lazzari: Signature Line 


The National Museum of Women of the Arts in Washington has organized a monographic exhibition dedicated to the great Italian artist, Bice Lazzari. The exhibition looks the artistic evolution of the most famous Italian Abstract artist through a selection of her works


May 10 - September 22, 2013

Washington DC, National Museum of Women in the Arts


On the occasion of the Year of Italian Culture in the United States, the National Museum of Women in the Arts of Washington will host an exhibition dedicated to Italian artist Bice Lazzari.

Born in Venice in 1900, Bice Lazzari soon made a name for herself by using a new language and by going from an orderly, constructed use of a  space in paintings to a dismemberment of form and a different use of materials.


Regarded as a non-conformist artist, Bice Lazzari’s work is charged with a charisma which conveys, through her painting and drawings, her passion for music and poetry.

However, what has led her to be regarded as the quintessential Italian Abstract artist was her closeness to the wave of “informalism”, which was born as an artistic response to the deep moral, political and ideological crisis which followed the horrors of war and rejected every formal rule, as well as every form of rational knowledge.

Bice Lazzari has undoubtedly substantially influenced the avant-garde movements of the Abstract artistic movement by expressing, in her works, that modernity which situates her among the great Italian women in the Arts of the 20th century. 


“Assonance/Dissonance” Exhibit


The exhibition showcases masterpieces of the sixteenth and seventeenth centuries alongside works by twentieth century Italian artists, including Pistoletto, Mondino, Paladino, Chia and Clemente, courtesy of the Sperone Westwater collection


April 16 - May 10, 2013

New York

Italian Cultural Institute 


This juxtaposition of antique and contemporary art will bring to the fore the ways in which the skills and techniques of the old masters have been adopted by some of the most influential and avant-garde Italian artists of the twentieth century.


The timelessness of tradition and technique is definitely the theme of the exhibition, and the dominant undercurrent of all Italian art history. This element of the classic, like an underground river, periodically emerges above ground and reinforces its eternal relevance in completely new and different contexts. The exhibition aims at not only enticing the viewer with a variety of chronologically and artistically diverse pieces, but also demonstrating the common relationships among them and exploring new interpretations of classic elements. This exhibition will have the viewer considering the cross-genre and cross-generational uses of these core elements, and how these techniques have become the koine of Italian art.


The project is conceived by Gian Enzo Sperone, Professor Riccardo Viale, Marco Voena, and the Italian Cultural Institute of New York.


Gian Lorenzo Bernini,
Gian Lorenzo Bernini, "Busto di Francesco I d Este", Galleria Estense, Modena, Italy

Let's save Bernini's masterpiece: A Crowdfunding campaign


May 16 - June 30, 2013

Modena (Italy)

Galleria Estense


Now you can really join and protect the extraordinary Italian artistic heritage, unique in the world. Take care of it and bring home a part of Italy: by donating on Indiegogo crowdfunding platform (, you can help protect this magnificent sculpture, which is an important example of Italy’s remarkable cultural and artistic heritage.

This fundraising initiative has been organized in the U.S. by Friends of FAI, at the request of FAI-Fondo Ambiente Italiano, which has committed to support this project.


About the project:

Last May, the Emilia-Romagna region in Italy was hit by a devastating earthquake. The damage to the region’s artistic and cultural institutions was extensive, and many have yet to reopen to the public. The Galleria Estense in Modena, which houses an incredible collection of Italian Renaissance and Baroque art, is one such institution. The gallery cannot reopen until certain protective measures are put in place, in particular, an anti-seismic pedestal to safeguard its most precious masterpiece: the 17th century bust of Francesco I d’Este, by Gian Lorenzo Bernini. This innovative technology will protect the work from future earthquakes, and until it is installed, the sculpture may not be displayed to the public. The development and installation of this technology will cost €60,000 (approximately $80,000).


What you can do:

Friends of FAI has elected to support FAI’s efforts, and hopes to raise $60,000 for the project. But we cannot do it alone. We hope you will contribute to this important cause, and enable the public to once again enjoy this beautiful and significant work of art.



Your generosity will be recognized by important sponsors who will send you exceptional products from the Made in Italy portfolio, or will invite you to experience unique opportunities in Italy. Alcantara, Berlucchi, Seguso, Aceto Balsamico del Duca, the Museum Home Enzo Ferrari, the Teatro Comunale di Modena "Luciano Pavarotti" and the Modena Football Club have already joined the initiative along with important figures in the art and culinary world, including world renowned chef Massimo Bottura, celebrated artists (and lifelong friends of Luciano Pavarotti) Mirella Freni and Raina Kabaivanska, and Piero Ferrari, the son of the great Enzo Ferrari. If you donate 50 dollars or more, your name will be carved on the anti-seismic pedestal of Bernini’s sculpture, and will become a part of the History!


Click here to donate today


Piero della Francesca, The Virgin and Child Enthroned with Four Angels (ca. 1470s-1480s)
Piero della Francesca, The Virgin and Child Enthroned with Four Angels (ca. 1470s-1480s)

Piero della Francesca in America


The Frick Collection presents the first monographic exhibition in the United States dedicated to the artist


February 12 - May 19, 2013

New York

The Frick Collection


In occasion of the exhibition, a series of lectures, seminars and gallery talks dedicated to the Italian master Piero della Francesca are held at the museum from February 13 to May 18, 2013.


Michelangelo, David-Apollo (detail), circa 1530 - National Museum of the Bargello, Florence
Michelangelo, David-Apollo (detail), circa 1530 - National Museum of the Bargello, Florence

Michelangelo's David-Apollo: An offer he couldn't refuse


Lecture by Dr. Alison Luchs


May 19, 2013

Chevy Chase (MD)

Friendship Heights Village Center


Michelangelo created the statue now known as David-Apollo around 1530 to please the tyrannical governor of Florence, Baccio Valori. This unfinished work was recently lent by the Museo Nazionale del Bargello, Florence to the National Gallery of Art, where it was on view from December 13, 2012, to March 7, 2013 to open the nationwide celebration 2013?The Year of Italian Culture.
The statue’s double name reflects contradictory evidence—both visual and documentary—concerning its subject. The graceful figure, its surface still veiled in chisel marks, embodies ambiguities and conflicts in Michelangelo’s own life.

This lecture, of which an earlier version was presented on January 27, 2013, at the National Gallery of Art, explores the mysteries surrounding the statue, the significance of its unfinished condition, and responses to it from later artists.


The Last Days of Pompeii


The exhibit reinterprets the remains of the city destroyed in the 79 C.E. volcanic eruption


February 24 – July 7, 2013

Cleveland, Cleveland Museum of Art
The Kelvin and Eleanor Smith Foundation Exhibition Hall


Pompeii and the other ancient cities destroyed and paradoxically preserved by the eruption of Mount Vesuvius in ad79 are usually considered the places where one can best and most directly experience the daily lives of ancient Romans. Rather than presenting these sites as windows to the past, this exhibition explores them as a modern obsession. Over the 300 years since their discovery in the early 1700s, the Vesuvian sites have functioned as mirrors of the present, inspiring artists—from Piranesi, Ingres, and Alma-Tadema to Duchamp, Rothko, and Warhol—to engage with contemporary concerns in diverse media. This international loan exhibition is co-organized by the J. Paul Getty Museum and the Cleveland Museum of Art.


Learn more,


Looking for Hemingway


Exhibit on the painting of Franco Azzinari


May 20 – June 28, 2013

Boston, City Hall


In a special area inside Boston City Hall, Italian painter Franco Azzinari will exhibit his works entitled “Looking for Hemingway”, a series of paintings featuring the American author and his love of Cuban landscapes.


Scollay Square Gallery and the Mayor’s Gallery inside Boston City Hall will host Italian artist Franco Azzinari’s exhibit, Looking for Hemingway, for more than a month. This exhibit will include ten paintings and drawings along with two video presentations.

The project Looking for Hemingway was born in 2000 during a visit to Cojimar (Cuba) where Azzinari met Gregorio Fuentes, a friend and travel companion of the celebrated writer. Through Fuentes’ stories, the artist falls in love with Hemingway’s life and during the course of his travels to Cuba, Franco Azzinari creates a series of drawings and paintings, depicting in large part Cojimar, and friends Gregorio Fuentes, Carnero Osvaldo and Pedro,  the landscapes and fishermen of the village. These experiences inspired Hemingway to write his novel, The Old Man and the Sea, for which he won the Pulitzer Prize in 1953 and the Nobel Prize in literature in 1954.

Among the diverse works on display are paintings and drawings reflecting the writer’s trips to Kenya, during which the Masai populations were depicted – including women, children and warriors – Debba, the African woman Hemingway loved, and the African savannah environment with its own fauna.

Two videos show Azzinari’s intent to record the fishermen of Cojimar as he talks to them about Hemingway and the typical dance of the Masai people, and the animals native to the area.

For more information on the artistic life and the works of Azzinari, visit the web site,










 Michelangelo Madonna della scala circa 1490
Michelangelo Madonna della scala circa 1490

Michelangelo: sacred and profane, masterpieces from Casa Buonarroti


Exhibit of 25 drawings by the great Renaissance genius


February 9 – April 14, 2013
April 21 – June 30, 2013

Williamsburg, Muscarelle Museum of Art
Boston, Museum of Fine Arts


Many of Michelangelo’s famous drawings, preserved by his descendants in the ancestral home in Florence, are presented in an exhibition intended to explore the artist’s innermost philosophy from the landmark perspective of Sacred and Profane.


At the age of thirty-six he took the world by surprise, enchanting one and all with the frescoes decorating the ceiling of the Sistine Chapel. Today, we marvel at twenty-five works of extraordinary beauty from the latter part of his career that enlighten us on the hand and mind of the great Michelangelo.
This selection of drawings of figures and architectural studies encloses several major pages from the main chapter in the artist's life and highlights how over the course of his unparalleled career Michelangelo alternated between interpretations and representations of the divine and the profane.
His powers to evoke the sacred are fully apparent in his depiction of the Virgin and Child, a drawing in black and red chalk and ink on paper. This is without a doubt one of the artist’s most admired works, with the figure of the Christ contrasting the uninhibited expression of foreboding of the Madonna. Evocative of both sacred and profane is the imaginary portrait of Cleopatra in black chalk, considered one of the most poetic conceptions of the Renaissance genius: one side depicts the legendary seductress in a state of self-possessed grace, while the other shows her in a state of anguish.
The works selected include several major sketches never previously exhibited in the US.


Michelangelo Sant Anna Matterza circa 1501
Michelangelo Sant Anna Matterza circa 1501
Michelangelo nudo di schiena 1504-1505Michelangelo Studi per la battaglia di Cascina gli Apostoli per Santa Maria del Fiore la Tomba di Giulio II e la Madonna di Bruges 1503-1505Michelangelo Studio di braccio per Lebrezza di Noè della Volta Sistina 1508Michelangelo Studi per un cornicione e per gli Ignudi della Volta Sistina 1508-1510Michelangelo Studi di figura per l Adamp della Cacciata dal Paradiso nella Volta Sistina circa 1510Michelangelo Studio di testa per la Madonna del Tondo Doni 1508Michelangelo Volto virile per la Volta Sistina 1509-1510Michelangelo Studi preparatori per la Sibilla Libica 1509-1510Michelangelo Basi di pilastro per la Sagrestia Nuova con scritte autografe 1524Michelangelo Tre studi per fontane 1521
Michelangelo Due figure maschili 1490-1492
Michelangelo Due figure maschili 1490-1492

Burst of Light: Caravaggio and His Legacy


November 11, 2012 – February 10, 2013
March 5 – June 16, 2013

Los Angeles, Los Angeles County Museum of Art
Hartford, The Wadsworth Atheneum Museum of Art


The legacy of Michelangelo Merisi da Caravaggio (1571 – 1610), one of the most influential painters in European history is presented in an exhibition featuring an unprecedented eight Caravaggio paintings for the first time in California, together with major masterpieces documenting his influence on a host of painters from Italy, France, Spain, and the Netherlands.


Unlike many artists of his generation, Caravaggio did not have proper pupils, but many artists gravitated around him with various success. By the time of his death, Caravaggio was arguably the most renowned artist in Rome and his reputation had reached painters well beyond the Italian peninsula. His striking realism, violent contrasts of light and darkness, and ability to express powerful emotions were as surprising to his contemporaries as they are to us today. The impact of his unique style his blend of bright highlights and masterful chiaroscuro, dubbed tenebrism sent tremors across Europe's artistic landscape. In Rome, aftershocks of Caravaggio's revolutionary reworking of realism appeared in the work of artists such as Baglione, Manfredi, Saraceni and Orazio Gentileschi. Painters adapted Caravaggio's theatrical use of light and figural staging, while many French artists, including Simon Vouet and Claude Vignon, were inspired by Caravaggio's work for their large-scale compositions.


The exhibition presents a remarkable selection of costume and theatrical pieces, genre scenes, portraiture, narrative history painting, including key themes organized around topics such as musicality, festivity, violence, nude studies, as well as religious works depicting St. Francis, St. Sebastian, and the Denial of St. Peter.

This exhibition is organized by the Los Angeles County Museum of Art, the Musée Fabre de Montpellier Agglomération, the Musée des Augustins, Toulouse, and the Wadsworth Atheneum Museum of Art, under the auspices of FRAME (French Regional American Museum Exchange).

The exhibition is accompanied by a 176 page catalogue published in collaboration with DelMonico Books/Prestel. The volume includes 100 color illustrations with essays by exhibition curator, J. Patrice Marandel and art historian and Caravaggio scholar, Gianni Papi, as well as contributions by Benjamin Couilleaux, Axel Hémery, Michel Hilaire, Dominique Jacquot, Judith W. Mann, Lynn Federle Orr, Amy Walsh, Eric M. Zafran, and Olivier Zeder.




 Velázquez, Duke Francesco I d Este, 1638. Galleria Estense, Modena © su concessione del Ministero per i Beni e le Attività Culturali
Velázquez, Duke Francesco I d Este, 1638. Galleria Estense, Modena © su concessione del Ministero per i Beni e le Attività Culturali

Velazquez’s Portrait of Francesco I d’Este. A Masterpiece from the Galleria Estense, Modena


An exceptional loan from the Galleria Estense, Modena: for three months it will be possibile to admire at the Metropolitan Museum of Art in New York the wonderful Portrait of the Duke Francesco I d'Este by Diego Velázquez, the jewel of the Modena museum, currently closed due to the damages caused by the May 2012 earthquake


April 15 – July 14, 2013

New York, Metropolitan Museum of Art


Among the most distinctive portraits by Diego Velázquez is one he painted of Francesco I d'Este (1610–58), the Duke of Modena, during the duke's visit to Madrid in 1638 to secure the support of Philip IV. The duke is shown in armor, wearing a red sash, his head turned toward the viewer. It is a work that conveys a quality of arrogance and sensuality, and is a high watermark in the history of baroque portraiture, while also illustrating the importance of Velázquez's portraits to Spanish diplomacy. In 1843 the painting was acquired by the Galleria Estense—one of the most prestigious of Italy's regional museums—in Modena, Italy, and it has never before been lent to an institution in the United States.

This special, three-month loan coincides with the re-installation of the Metropolitan's collection of Old Master paintings. It not only makes accessible to an American public one of the least known of Velázquez's works, but also calls attention to the severe damage suffered throughout the Italian region of Emilia Romagna after a devastating earthquake in May 2012. The Galleria Estense has been temporarily closed due to the damage it sustained. 


Caporali: a Masterpiece of Renaissance Illumination


February 17 – June 2, 2013

Cleveland, Cleveland Museum of Art


The Cleveland Museum will host an exhibit on the works of two artist brothers, Bartolomeo and Giapeco Caporali. A beautiful renaissance missal, dated 1469, will be on display together with other exceptional miniatures. The works come from a small town close to Perugia, and date back to the second half of the 15th century. 


The exhibition centers on a splendid and little-known renaissance manuscript, acquired by the Museum in 2006: an illuminated missal, decorated by the two brothers for the Franciscan community of Montone, a small hillside town near Perugia. 
The exhibition celebrates the work of these two artists and presents it to the US public for the first time. Through additional panel paintings and manuscripts decorated by the two artists, the exhibition explores their long careers and focuses on their relationship with the Franciscans of Montone. 
Liturgical objects such as vestments, a chalice and a processional cross help to set the manuscript in a liturgical, cultural and historical-artistic context. 
Many of these works, on loan from museums and churches in Umbria, will be on display in the United States for the first time.
In addition, the Museum is working on publishing an accompanying volume for the The Caporali Missal: A Masterpiece of Renaissance Illumination exhibition which will offer a learned and in-depth exploration of the Caporali brothers’ life, career and influence, as well as of their Missal. The book will include a series of essays by eminent scholars, and looks at the influence that the Florentine artists wielded on the Franciscan community, at the spiritual community itself and at the history of the Montone convent. 


Gems of the Medici


A world-premiere exhibition highlights some of the oldest and most unique pieces of the Medici collections


October 26, 2012 – March 31, 2013
April 14 – September 15, 2013

Houston, Museum of Natural Science
Bowers Museum, Orange CA


The Gems of the Medici exhibit presents for the first time outside Italy a number of unique masterpieces belonging to the collection of the Medici family, which ruled Florence for 300 years leaving its mark on the history of art


Gems of the Medici is a premiere exhibition that delves into the history of Florence, Italy's renowned Medici family. In the mid-1400s, many celebrated artists, goldsmiths, silversmiths and engravers were attracted by the abundance of wealth in the city of Florence, but the most important factor in this gathering of talent was the presence and patronage of the Medici family.


For almost 300 years, generation after generation of Medici dominated city affairs and steered the course of art history. It was the Medici family who funded the workshops of these artists and artisans, and who commissioned and collected their masterpieces of art and antiquity. From the founding father to the last Grand Duke, the immense power and wealth of this great dynasty was invested in its legendary collections, of which the collection renowned as the Gems of the Medici is perhaps the finest in the world.


Gems of the Medici, a world-premiere exhibition, highlights some of the oldest and most unique pieces of the Medici collections, including antiquities dating from the 1st Century BCE as well as a cornelian which was part of the Seal of Nero.


Gems of the Medici was organized by Contemporanea Progetti, Florence, Italy in collaboration with Museo degli Argenti, Palazzo Pitti and the Museo Archeologico Nazionale Firenze. Support provided by The Wortham Foundation, Inc.


Giambattista Piranesi, View of the Romano Campidoglio with Staircase that Goes to the Church of Araceli, 1757, Etching
Giambattista Piranesi, View of the Romano Campidoglio with Staircase that Goes to the Church of Araceli, 1757, Etching

Piranesi, Rome and the art of design


More than three hundred original prints by Giovanni Battista Piranesi (1720-1778) have been selected from the world-renowned collection of the Fondazione Giorgio Cini in Venice, Italy. These prints are combined with modern day interpretations in new technologies such as video, photography, and digital modeling


March 30 - July 7, 2013

San Diego

The San Diego Museum of Art


More than three hundred original prints by Giovanni Battista Piranesi (1720-1778) have been The exhibition embodies the progressive spirit of Piranesi’s own eclectic visions and his modernity, emphasizing the popular appeal of his work and its continuing relevance to designers and architects.

Exhibition conceived by Michele De Lucchi, produced by Fondazione Giorgio Cini, Itatly, together with Factum Arte, Spain, in collaboration with Exhibits Development Groups, USA.


Giovanni Battista Piranesi (1720-1778) was a printmaker, architect, antiquarian, art dealer, theorist, and designer—one of the foremost artistic personalities of the 18th century, whose views of Rome remain the city’s defining image. Fresh, thought-provoking, and innovative, Piranesi, Rome, and the Arts of Design sets out to show the range of the artist’s genius in a 21st-century approach to his creative endeavors. More than 300 original prints have been selected from the world renowned collection of the Fondazione Giorgio Cini in Venice, Italy.


These prints are combined with modern-day interpretations in new technologies such as video, photography, and digital modeling. Utilizing the most advanced technologies, the exhibition enables Piranesi’s two-dimensional renderings of a monumental vase, a candelabrum, tripods, a teapot, an altar, and a fireplace to assume their rightful three-dimensional forms. These never-before-seen and never-before-crafted objects take center stage in the exhibition and attest to the creative intellect of Piranesi’s designs. In addition, the exhibition brings to life Piranesi’s most famous works, the Carceri (Prisons), in the form of a virtual reality 3-D installation. The legendary Caffè degli Inglesi is represented as a full scale evocation, and visitors may browse through Piranesi’s sketchbooks using a touchscreen monitor. Strikingly designed by world renowned architect Michele De Lucchi, the exhibition embodies the progressive spirit of Piranesi’s own eclectic visions and his modernity, emphasizing the popular appeal of his work and its continuing relevance to designers and architects. Having previously appeared at the Fondazione Cini in Venice and at the Caixa Forum in Madrid and Barcelona, the show makes its only U.S. stop at The San Diego Museum of Art.


Design by Giambattista Piranesi - produced by Factum Arte, Tripod (2010), Bronze with silver patina and alabaster shelf
Design by Giambattista Piranesi - produced by Factum Arte, Tripod (2010), Bronze with silver patina and alabaster shelf
Giambattista Piranesi, Prison (1761 ca.), EtchingInstallation view from: Piranesi, Rome and the Arts of Design



A monographic exhibition dedicated to the works of art of the contemporary artist Salvatore Emblema


March 28 - May 31, 2013

Los Angeles, Italian Cultural Institute


A retrospective show aimed to develop and enhance the historical value of the research of the Italian artist Salvatore Emblema. This event, the first dedicated to this  artist in the city of Los Angeles, is an exhibition of about 30 works of painting, sculpture and one large environmental installation


EMBLEMATRASPARENZA is a retrospective show aimed to develop and enhance the historical value of the research of the Italian artist Salvatore Emblema. This event, the first dedicated to this  artist in the city of Los Angeles, is an exhibition of about 30 works of painting, sculpture and one large environmental installation. The exhibition is curated by Peter Frank, former Senior Curator at  Riverside Museum, with the technical assistance of Museo Emblema.  Having to present, for the first time,  Emblema’s works to the Californian audience, the curatorial approach examines the most distinctive trait of Salvatore Emblema’s pictorical research: The Transparency. The term, used in 1969 by Italian art historian Giulio Carlo Argan, describes the ability of the Artist’s paintings to interact with light and space of the environment where the they are placed. The exhibition starts from textural experiments of the late '50s – at that time Emblema  is working in New York, attending occasionally, the Studio of Mark Rothko- Going up to the iconic canvases of the early '70s. These last paintings, so-called "Un-weaved ", are characterized by the removal of jute’s  wires from the surface of the canvas, so leaving a glimpse of the light-space that lies behind the picture. To this same cycle belong two works in coming to  the collection of the MOCA, the prestigious contemporary art museum of the city of Los Angeles. On show, also some examples of the peculiar sculptural production of the Neapolitan artist, and a large environmental installation in colored metal wire, dating back to 1973. The exhibition, as usual to the events related to Emblema, will see also an educational workshop and it is accompanied by a bilingual catalogue with critical essays and unpublished materials from the Artist’s personal archive.

The exhibition is in connection with a large retrospective of the artist organized in the same period at the Museum MACRO in Rome













Sicily: Art and Invention Between Greece and Rome


The exhibition celebrates Sicilian culture of the fifth to third centuries B.C., when its art, architecture, theater, poetry, philosophy, and science left an original and enduring stamp on both mainland Greece and Rome


April 3 – August 19, 2013
September 29 - January 5, 2013

Los Angeles, Getty Museum
Cleveland, Museum of Art


Sicily: Art and Invention Between Greece and Rome: a fascinating journey through the marvels of Magna Grecia with masterpieces dating from the most splendid period of Greek colonies in Sicily: the piece most anxiously awaited by the U.S. public, the Efebo of Mozia, dates back to precisely this period.


Sicily: Art and Invention Between Greece and Rome is a celebration of Sicilian culture – art, architecture, theater, poetry, philosophy and science – in the period between V-III A.C. A crucial period in the history of the Mediterranean, the ancient Greek colonies like Syracuse, Gela, Agrigento, and Selinos quickly developed into prosperous City-States, with a bourgeoning activity of experimentation and innovation. More than 150 objects testify to military and athletic victories, religious and civil rituals, the opulence of Sicilian life, and the intellectual achievements that shaped classic Rome and Greece.
The Efebo di Mozia, large marble statue preserved at the Whitaker museum in Mozia is one of the most highly awaited works of art from Italy, Sicily in particular, that is scheduled to arrive in the United States.
Likely brought to Mozia by Carthaginians after they sacked Selinos in 409 AC, the statue is of a male figure without arms and feet, and the presence of pivots on the face area suggests that it once had a head covering. The right arm was likely raised toward the air while the left one was curved inward with the hand resting on the hip. The long tunic, clinched by a belt at chest level accentuates the masculine physique and musculature.
Although identification has not been confirmed, the most credible theory is that the sculpture depicts a victorious athlete, a charioteer or carriage driver perhaps.