The Longaretti Association , the Floriano Bodini Civic Museum of Gemonio , the Friends Association of the Floriano Bodini Civic Museum , the Sant'Agostino Foundation, the Manfredini Schools of Varese (Manfredini Art School / Spazio 1911 Arte e Caffè) are the promoters of the project. dedicated to Maestro Trento Longaretti (1916-2017) who sees the patronage of the Municipality of Varese, the contribution of 8a + Investimenti SGR SpA, the Community Foundation of the Varesotto ONLUS and the collaboration of the Amici del Sacro Monte di Varese Association.

In March and April 2022, the scheduled exhibitions, curated by Carlo Pirovano and Nunzio Giustozzi, will involve the Floriano Bodini Civic Museum in Gemonio , which will host the exhibition “TRENTO LONGARETTI. Light, color, figures, silences, shadows ”and the Spazio 1911 Arte e Caffè at the Manfredini Schools in Varese, which will host a section of the exhibition from 11 March to 24 April.

The exhibition is a further attempt to explore the very complex personality of Trento Longaretti despite the choice of seemingly easy themes. The exhibition itinerary unfolds on these, retracing the long creative parable of a melancholy artist, who had the ability to understand, to penetrate the deep soul, the interiority of man, his history, through "his" images : a heartfelt homage to an artist who shared the truest, sometimes tragic, feeling of life with Floriano Bodini.

In a cantica in several rooms, there are several paintings, all of absolute quality, which return to be exhibited to the public after several decades, some almost unpublished, traced, in the archives of the Longaretti Association, in museums and in private collections, to be presented within a melodious path that included pregnant combinations designed to bring out the votes, the inventions, the coherence and the rejects, the unmistakable style of the painter, the way of painting between evolution and returns. Many canvases are the result of a study on the Masters of the past: stimuli and provocations constantly re-emerge from his vast visual culture, models to which he confronts himself without any anxiety about quotation, reflecting on himself and on the painter's profession, as evidenced by the many self-portraits that accompany his existence and the monumental, sad allegory of the recent Humana Pictura cycle, perspective focus of the exhibition.