Curated by: Anna Orlando
Almost three years after the death of Raimondo Sirotti (25 September 1934 - 1 May 2017), the city of Genoa pays tribute to one of its most significant artists of the twentieth century, with an exhibition event divided into two prestigious venues, Palazzo Ducale and Villa Croce, so as to offer the public for the first time a retrospective on its entire production, which covers a chronological span of about sixty years, starting from the immediate post-war period up to the last canvases.
His painting, now fervent with images, now tenderly shattered with lights, as Gianfranco Bruno described it; his informal naturalism and his figures that stopped the uninterrupted flow of the sensation that Roberto Tassi liked so much; his art strictly faithful to itself, as Maurizio Calvesi decreed; miracle of the imprinted evanescence, settling of the shadow within the domain of light, as Marco Goldin wrote, will be proposed to the general public in the first major retrospective.
Present in many anthological exhibitions and the protagonist of several solo shows in institutions, not only in Italy, Sirotti's entire career is studied and proposed, from the beginning that saw an important training moment in Milan in the late fifties, until success and to the numerous public offices starting from the nineties.
Genoa, which saw him operate as an artist, also heavily engaged in teaching as a teacher and then president of the Ligustica Academy of Fine Arts, is the city appointed to welcome the great
Sirotti retrospective: at Palazzo Ducale, for its cultural center of gravity role, and at Villa Croce, the Museum of Contemporary Art which houses the most important collection of works by Ligurian artists of the 20th century, as well as a historicized and widely recognized venue for the most important modern and contemporary art exhibitions in Genoa.
The curatorship involves Matteo Fochessati and Anna Orlando, art historians who left the Genoese university and who are differently active on several fronts, from that of research to that of dissemination.
The first is a historian of contemporary art and curator of the Wolfsoniana - Palazzo Ducale Foundation for Culture; the second is a historian of seventeenth-century specialist Genoese painting.
Both are curators of exhibitions and creators of cultural initiatives in their own city and outside, and together they form an ideal combination that combines different skills for a wide-ranging reading of the various aspects of the artistic figure of Raimondo Sirotti, between modern and contemporary and constant linguistic experimentation comparison with ancient art.
At Villa Croce the important chapter of the reinterpretations of ancient art and the relationship with the great masters of the past will be investigated in a totally new way, first of all in the Genoese Baroque, but also with significant exponents of the twentieth century with whom, more or less explicit, Sirotti confronted himself. Some of the comparison works will be chosen from the museum's permanent collection, thus providing a valuable opportunity to enhance a civic heritage.
The enchanting seat of Villa Croce, which offers added value its close relationship with the park and its view of the sea, as an exceptional crowning for the theme of nature constantly at the center of Sirotti's research, will be literally invaded by the great and small colorful, exciting and engaging paintings by Sirotti.
There is a direct relationship with the works from which he drew inspiration - paintings by Valerio Castello, Anton Maria Vassallo, Giovanni Benedetto Castiglione - and the presence of works with a strong dimensional impact such as one of the two large tapestries of the Carlo Felice Theater, inspired by two Genoese Baroque paintings.