Anthropomorphic vase with back-bracket handle

Schmidt y Pizarro 1934 acquisto

ambito Moche IV

Anthropomorphic vase with back-bracket handle

Anthropomorphic vase

Rilievo rosso con asta verticale

Maria Cernuchi Ghiringhelli 1990

Colla, Ettore

1966 - XX

608

Unità di misura: cm; Altezza: 57; Larghezza: 50

lamiera e ferro

Ettore Colla - Roma - 1983<br>Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Villa Croce, Genova - 1985

The artist studied at the Academy of Fine Arts in Parma. After graduating in 1922, he moved to Paris where he stayed for three years, practising at various ateliers including Bourdelle's. After returning to Italy, he moved to Rome where he began his exhibition activity (we remember his presence at the Venice Biennale in 1930). Also in Rome at the end of the 1940s, he founded the Gruppo Origine with Burri, Capogrossi and Ballocco, considered an anticipation of Informal Art, a research that contrasted with the more aesthetic and formal research of the time. The work in the collection (from 1966) is part of this field of research in which the spatial relationships between elements are declined not so much in reference to geometric abstractionism, but above all to Informalism. The work consists of a rectangular base of scratched metal and 2 vertical elements welded at the ends.

Colloquio col vento

Maria Cernuschi Ghiringhelli 1990

Consagra, Pietro

1962 - 1962 - XX

610

Unità di misura: cm; Altezza: 48; Larghezza: 41

scultura in acciaio inox

Scultura nella città - Spoleto - 1962<br>Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Villa Croce, Genova - 1985

After his studies and years of apprenticeships in the artisan workshops of his country, Consagra moved to Rome in 1944 where he met Renato Guttuso who introduced him to the artistic environment of the capital. Consagra's sculpture follows his declared programme: to express the dramatic rhythm of today's life with plastic elements that should be the formal synthesis of man's actions in contact with the gears of this society. The work ‘Colloquio con il vento’ is part of the series Colloqui developed by the artist between 1952 and 1962 . The welded stainless steel sheet creates an almost two-dimensional surface with an anti-monumentalist intent, alluding to the fact that the openings determined by the overlapping steel sheet cuttings can enter into a dialogue (colloquio) not only with the wind that passes through them but also with the space that the sculpture occupies in its outdoor installation.

Composizione

Maria Cernuchi Ghiringhelli 1990

Crosa, Andrea

1982 - 1982 - XX

611

Unità di misura: cm; Altezza: 130; Larghezza: 45; Varie: Tre appendici in tela dipinta imbottita: 30x45 cm

olio e collage su tela

Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Genova - 1985

Crosa started painting in Argentina and after graduating in architecture in 1975, he moved to Italy. In the initial phase of his work, inspiration from pop art prevailed, visible in the revisitation of myths and famous people or in the ironic and detailed reconstruction of interiors. The 1980s characterised Crosa's artistic research in the direction of sign and colour. The work ‘Composizione’ is composed of a canvas and 3 soft, coloured cushions that propose a research, linked on the one hand to the three-dimensionalisation of the sign and on the other hand to the possibility that the work goes beyond the surface and can invade and arrange itself in an apparent randomness on the wall that houses it. The shapes of the cushions refer to the two-dimensional forms on the canvas, in a principle of contamination amplified by the choice of colours: yellow, red and purple.

Città incatenata

Beppe Dellepiane 1994

Dellepiane, Beppe

1983 - 1983 - XX

1543

Unità di misura: cm; Altezza: 230; Larghezza: 240; Profondità: 40

assemblaggio

Metafore, metonimie, trasmutazioni - Villa Croce, Genova - 1997

The artist was born on 12 July 1937 in Bolzaneto. The environment in which he spent his early years was the industrial Genoa between the two wars. He began exhibiting in the second half of the 1950s. In 1997 (‘Metaphors, Metonymies, Transmutations’), he held an exhibition at the Villa Croce Museum of Contemporary Art, to which he had previously donated his large-scale works created between 1980 and 1984. The work on display is part of this donation. Specifically, the reference to the city mentioned in the title refers to the artist's vision as he perceives the change (following the processes of industrial transformation) of the district where he was born and lived. The city becomes the place blocked by chains, and the elements that make up the assemblage, with their dark and often recycled colours, allude to the degradation and air pollution produced by the fumes of the steelworks.

Dondolo

Maria Cernuschi Ghiringhelli 1990

Marrocco, Armando

1966 - 1966 - XX

699

Unità di misura: cm; Altezza: 70; Larghezza: 140; Profondità: 16

Legno, feltro, acciaio

Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Villa Croce, Genova - 1985

Armando Marrocco is an Italian artist, painter and sculptor. He began his exhibition activity in 1968 in Milan and continued it over the next two decades with many significant appearances in solo and group exhibitions. The work ‘Dondolo’ (Rocking), like the other work ‘Molle’ (Springs) in the Museum's collection, is part of a field of research that ironically alludes to a possible alternative to classical sculpture. Specifically, ‘Dondolo’ is the result of a round wooden table cut on the diagonal that recalls the old children's game. The need to obtain movement and sounds by acting on one side determines a different relationship with the public observing the work, which becomes a co-protagonist of the author's artistic choice.

Molle

Maria Cernuschi Ghiringhelli 1990

Marrocco, Armando

1966 - 1966 - XX

700

Unità di misura: cm; Altezza: 62; Larghezza: 65; Profondità: 30

Metallo verniciato

Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Villa Croce - 1985

Armando Marrocco is an Italian artist, painter and sculptor. He began his exhibition activity in 1968 in Milan and continued it over the next two decades with many significant appearances in solo and group exhibitions. The work ‘Molle’ in the Museum's collection alludes in an ironic and vaguely pop manner to a representation of the work of art which for the artist recalls (albeit in a sarcastic manner) natural reality. Once caressed, the steel springs collide with each other, generating sounds and noises as well as oscillations that recall the possibility of a sculptural element offering dynamic optical effects in a quest that involves the various senses and the involvement of the viewer.

Macchina inutile

Maria Cernuschi Ghiringhelli 1990

Munari, Bruno

717

quattro elementi in legno laccato bianco in sviluppo orizzontale

Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Villa Croce, Genova - 1985

Bruno Munari was a great experimenter, also in the direction of the applied arts. He started making the first ‘Machines’ in 1933 and in fifteen years designed 93 of them, using techniques derived from the industrial production of serial products. The first works had allusive titles (‘Sensitive Machines’, ‘Machine Breath’), which then turned ironically into ‘Useless Machines’ to emphasise the pure and unique aesthetic function unrelated to any functionality and efficiency. ‘Personally, I thought it would be interesting to free the abstract forms from the static nature of the painting and suspend them in the air, connected to each other so that they would live with us in our environment, sensitive to the true atmosphere of reality’.

Quipu

Marini Montesoro M. 1957 donazione

ambito incaico

Quipu

counting instrument

knife sheath

Collezione Missioni Cattoliche Americane 1893

knife sheath

XIX - 1891 - 1900

C.A.515

Canada

Si utilizzavano due pelli conciate tagliate secondo la forma della lama che vi doveva essere inserita, e cucite insieme. La superficie del fodero poteva essere decorata con conterie di vetro policrome, frange, borchie, sonagli metallici e aculei di porcospino, che venivano divisi a seconda della misura, ammorbiditi in bocca e, presso alcune tribù, spaccati; quindi erano appiattiti con i denti o con le unghie. Per la conciatura la pelle veniva tesa su dei pioli e con un raschiatoio si eliminavano residui di carne e cartilagini, quindi veniva lasciata stesa al sole ad asciugare per parecchi giorni. A questo punto la pelle veniva capovolta per rimuovere il pelo, tenuta a mollo e strofinata con una mistura di grassi animali per ammorbidirla. dopo averla lasciata nuovamente ad asciugare, veniva stirata e lavorata sulle due facce con una correggia ritorta di cuoio grezzo.

Contenere il coltello

Scabbard made from two pieces of leather sewn together. Front surface entirely covered with green, orange, red, pink, light blue and blue glass beads forming concentric geometric diamond patterns within a perimeter formed by two rows of transparent white beads. A border of orange, blue and pink conteries in alternating bands covers the seam of the scabbard and the hem of the opening. On the back, a strip of leather sewn vertically allows the scabbard to be inserted into the belt.