30 years after the last major exhibition in Treviso and 75 after the first, the Bailo, curated by Fabrizio Malachin and Nico Stringa, is proposing a new retrospective on Arturo Martini, entitled “Arturo Marini. The masterpieces”: an exhibition never attempted before that brings together those works, in the words of Martini who “weigh tons and seem as light as a feather”.
It will be an unmissable opportunity for the public to go through all the stages of the Treviso sculptor's artistic production and for scholars to formulate the new point on Martin's studies, highlighting the role and modernity of Martini in European sculpture of the twentieth century. Martini is a stably protagonist at the Bailo, thanks to the large collection of his works heritage of the Museum, which date from his youthful production to the artist's mature years. A work by Martini, the Adam and Eve of monumental dimensions, serves as the Bailo's business card, thanks to a windowed wall that allows it to be glimpsed, even to the most inattentive passers-by on the public street. It is a masterpiece that Treviso acquired thanks to a public subscription called in 1993, just thirty years ago. This grandiose exhibition is divided into five sections.
The itinerary starts from the permanent section that the Bailo reserves for the sculptor. Here the years of his apprenticeship are retraced, marked by the influence of masters such as Giorgio Martini (father of the already famous Alberto) and Antonio Carlini. Shortly thereafter, the first exhibitions in Treviso and Venice and the first recognitions arrived. Then the long stay in Monaco and the influence of Paris. The sculptures, with works in plaster and cement such as Maternity and Allegory of the sea and Allegory of the earth, are accompanied by the important graphic and ceramic experience, for which she collaborates with the Gregorj furnace.