This exhibition presents, based on an idea by Carlo Sisi, the masterpieces of the art collection of the Cassa di Risparmio di Firenze Foundation dedicated to the landscape. Starting from the Maremma of the late nineteenth century, which was a source of inspiration for famous Macchiaioli painters such as Giovanni Fattori and Luigi Gioli, the arrangement - edited by Emanuele Barletti - includes evocative Tuscan landscapes signed by Llewelyn Lloyd, Francesco Gioli, Niccolò Cannicci, Pietro Annigoni , Galileo Chini, Angelo and Adolfo Tommasi, Raffaello Sorbi, Giorgio kienerk, Ulvi Liegi, Giovanni Colacicchi, Luciano Guarnieri .
The first room is dedicated to the "bitter earth" (for swamps and malaria) of Maremma and to the Macchiaioli painters, with paintings by Giovanni Fattori, Adolfo Tommasi, Luigi and Francesco Gioli. The myth of the "bitter Maremma" then dissolves into a sweeter and more elegiac tale that reverberates in the poignant Tuscan landscapes evoked by other masters. In the second room, Tuscan landscapes are exhibited, referable to two expressive modes that were widespread in the early twentieth century: those anchored to the "truth" of the post-Macchiaiola naturalist tradition - as in the case of the "Lucca" paintings by Adolfo Tommasi or Raffaello Sorbi's Hunter - and those most closely linked to the suggestions of painting widespread in Europe, suggested for example by the misty atmospheres of the Landscape by Niccolò Cannicci, by the allusions to the symbolism of Giorgio Kienerk or by the strong and lively colors, almost pre-expressionist, by Ulvi Liegi. The places evoked in the paintings are far from the large inhabited centers and lived by a composed rural civilization: the banks of the Arno, Vallombrosa near Florence, Pescaglia and Ponte a Moriano in the province of Lucca. Glimpses of the landscape that avoid delighting in the rhetoric of the wild, the majestic and the sublime to reveal to us the urgency of these artists to abandon themselves to the intimacy and serenity of the marginal and the everyday.
The third room is dedicated to artistic personalities more immersed in the twentieth-century perspective: The View of Florence by Llewelyn Lloyd offers an unusual angle of the Florentine panorama describing it, in line with the most advanced trends of European culture, with pure pointillist technique. Galileo Chini , on the other hand, in the period in which he paints the two streets of Versilia on display, has already abandoned his extraordinary season of formal experimentation to devote himself to a less studied but more emotionally felt representation of the landscape. The simplification of the forms and the clarity of the colors of View of San Gimignano, by Colacicchi, express a Cézannism filtered by the example of Oscar Ghiglia. Far from expressionism, and an example of a renewed reference to the great classical tradition, is instead the original and tasty trompe l'oeil by Pietro Annigoni, considered one of the greatest figurative artists of the Italian twentieth century. A pupil of Annigoni was Luciano Guarnieri, who in this room exhibits a work of extraordinary pictorial sensitivity with soft atmospheres and rarefied materiality.