Ornitomorphic figure

Marini Montesoro M. 1957 donazione

cultura Nazca

Ornitomorphic figure

Unità di misura: cm; Altezza: 19; Lunghezza: 25

Perù

cotone- tessitura a telaio

L'America indigena nelle collezioni del Civico Istituto Colombiano di Genova - Genova, Palazzo Doria - 1990

Two fragments in nearly balanced and slightly warp-faced dark brown cotton canvas. The cloth is embroidered in chain stitch in camelid fiber and depicts two birds, one in red, cream, yellow, red, and dark brown and the other in yellow, cream, blue, dark brown, and red. Non-double-faced textiles.

miniature poncho

Esso Standard s.d. donazione

cultura Chancay

miniature poncho

XI-XVI centuries CE

Unità di misura: cm; Altezza: 13; Lunghezza: 19

Perù

cotone- tessitura a telaio

L'America indigena nelle collezioni del Civico Istituto Colombiano di Genova - Genova, Palazzo Doria - 1990<br>Due mondi a confronto. I segni della storia - Genova, Palazzo Ducale - 1992

Miniature warp-faced canvas poncho in natural cream, light brown, and dark brown cotton with vertical stripe pattern. Weaves are continuous selvedge to selvedge except near the neckline of the poncho to create the slit. Cream colored stitching on selvedges and reinforcement near the neckline. Double-faced fabric.

Cloth fragment

Schmidt y Pizarro 1933 acquisto

Nazca-Huari

Cloth fragment

VI-X - 501 - 1000

Unità di misura: cm; Altezza: 23; Lunghezza: 12

Perù

cotone naturale e fibra camelide, punto ad arazzo

Le mani delle americhe - Genova, Laboratorio didattico Sant'Agostino - Nov. 1995 - Gen. 1996<br>Mostra d'arte precolombiana e di etnologia americana - Genova, Castello D'Albertis - 1972-1977

Rectangular polychrome textile fragment finely worked in tapestry stitch. The warp is made of natural cotton. The cotton and camel fiber wefts draw in the lower part, on a cream ground, rhomboid and cruciform motifs (unku), while in the upper part, on a red ground, a human face is decorated with Greek pattern ears, round eyes, teeth, a well-marked nose and nostrils, circular ear spools, and a scaled headdress. The colors used for the weave are red, pink, green, blue, yellow, pinkish, dark brown, and medium brown. The gaps are not stitched.

Cloth fragment

Schmidt y Pizarro 1938 acquisto

Nazca-Huari

Cloth fragment

VI-X - 501 - 1000

Unità di misura: cm; Altezza: 21.5; Lunghezza: 11

Perù

cotone naturale e fibra camelide, punto ad arazzo

Le mani delle americhe - Genova, Laboratorio didattico Sant'Agostino - Nov. 1995 - Genn. 1996<br>Mostra d’Arte Precolombiana e di Etnologia Americana - Genova, Castello D'Albertis - 1972-1977

Rectangular polychrome textile fragment finely worked in tapestry stitch. The warp is made of natural cotton. The cotton and camel fiber wefts draw in the lower part, on a cream ground, rhomboid and cruciform motifs (unku), while in the upper part, on a red ground, a human face is decorated with Greek pattern ears, round eyes, teeth, a well-marked nose and nostrils, circular ear spools, and a scaled headdress. The colors used for the weave are red, pink, green, blue, yellow, pinkish, dark brown, and medium brown. The gaps are not stitched.

Anthropomorphic vessel with posterior stirrup spout handle

J. Puccio 1927 acquisto

ambito Moche IV

Anthropomorphic vessel with posterior stirrup spout handle

V - 401 - 500

Unità di misura: cm; Altezza: 18; Diametro: 13.5

Perù

argilla- a stampo

Mostra d'arte precolombiana e di etnologia americana - Genova/ Castello D'Albertis - 1972-1977

The artifact was part of grave goods. Red-orange and cream-colored vase with a flat bottom. The chamber depicts an anthropomorphic figure, recognizable as a prisoner, naked and kneeling with his hands tied behind his back by a cream-colored rope passing around his neck and torso. The hair, eyes, and mouth are incised, while the nose is in relief.

Bagnante

Giovanna Colombi Galletti 1990

Galletti, Guido

1930 - 1930 - XX

855

Unità di misura: cm; Altezza: 140; Larghezza: 66,5; Profondità: 50,2

gesso

A well-known Italian sculptor with many appearances at the Venice Biennale (from 1930) and the Quadriennale in Rome (from 1935). The artist was mainly concerned with classical and naturalistic composition, especially in the period between the First and Second World Wars. The sculpture ‘Christ of the Abyss’ of 1954, placed on the seabed in the bay of San Fruttuoso di Camogli, is well known to Ligurians and others. The work (datable to around 1930) in the Villa Croce collections is characterised by the sinuosity of the lines and the delicate finish of the plaster as well as a simplification of the modelling. The artist defines the female body with simplicity and precision and leaves the subject's face and the drape around her shoulders to a more stylised form.

Torsione cubica

Cerda, Antonino

1980 - 1980 - XX

4168

Unità di misura: cm; Altezza: 26; Larghezza: 14.5; Profondità: 14.5

marmo scolpito

Antonino Cerda, who moved to Genoa as a child, after graduating from high school as an artist in 1973, he was appointed as a teacher of plastic arts at the Liceo Barabino in Genoa in 1977. He continued his artistic research in the studio of the Genoese sculptor Michelangelo Barbieri Viale and at the same time took part in sculpture exhibitions and competitions in Italy and abroad. Torsione cubica alludes to the possible torsion, like a graphic sign, of a hard and immovable material such as marble. Form isolated from context, says Cerda, in its mute perfection becomes expressive language. In this phase of research, I do not remove matter from the block, I do the opposite, I build from the void tensions and contractions, suggestions that, freely but strictly guided, become sculpture.

Spazio 15B

Bozzola, Angelo

1968 - 1968 - XX

3266

Unità di misura: cm; Altezza: 100; Larghezza: 200; Profondità: 10

acciaio inox

Angelo Bozzola was a great experimenter of innovative techniques and materials applied not only to the field of painting and sculpture but also to industrial design, with an approach that was always analytical and process-oriented, and an anticipator of many aesthetic issues such as the contamination of languages and the concept of usability of the work. In the work ‘Spazio 15B grande scultura’ Bozzola inserts a personal and identifying form of his research that he calls ‘Monoforma trapezio ovoidale’. On the sheet metal by means of an oxyhydrogen flame the artist draws his shape continuously for dozens of examples, obtaining a contrast between the smooth and cold parts of the sheet metal and the rough and sharp parts determined by the passage of the flame. The result is characterised by modular elements that are duplicated and concatenated according to precise logical-mathematical schemes, with results of great elegance and compositional balance.

Implosion

Giovanni, Rizzoli 2005

Rizzoli, Giovanni

2004 - 2004 - XX

3194

Unità di misura: cm; Altezza: 49; Larghezza: 29; Profondità: 16

fusione a cera persa in acciaio

In 1977 the artist moved to Canada. In 1980 he attended the École Nouvelle de Chailly in Lausanne, Switzerland and later the Saint Stephen's School in Rome where he obtained the International Baccalaureate. In 1988, he took a course in traditional Japanese painting in New York. In the same years he took part in many group and solo exhibitions. Implosion is a cast steel sculpture made with the lost wax technique and alludes in its almost unrecognisable face represented the possible implosion of forms. The sculpture's aesthetic and tactile result reflects the artist's research, which proceeds through contaminations of techniques and materials, proposing a reflection on the history of art understood as a process of achieving an aesthetic and emotional result. Says Rizzoli -My proceeding is more out of amazement than design, but it is also a need for a dialogue with history, the spirit of the times and the possible ways of art-.

Spoleto

Ilva 2000

Lorenzetti, Carlo

1962 - 1962 - XX

2437

Unità di misura: cm; Altezza: 112; Larghezza: 75; Profondità: 43

ferro saldato

Carlo Lorenzetti, international sculptor and artist Teacher at the French Academy in Rome, he is known for his metallic, embossed iron and brass sculptures. In 1962, historian and critic Giovanni Carandente invited him to the open-air exhibition Sculptures in the City in Spoleto. Lorenzetti favoured the use of metal plates on which he experimented with weights and balances: his poetics recall the mobile sculptures of the well-known American artist Alexander Calder. The work ‘Spoleto’ follows this mode of expression by proposing a contrast between the thickness of the iron plates that make up the vertical part of the sculpture and their ability to generate a stable balance on a relatively small wooden base. Even the bending of the metal seems to follow rules referring to softer and more flexible materials in a search for dynamism without the component of movement.