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Titolo dell'opera:

Cloth fragment

Acquisizione:

Schmidt y Pizarro 1933 acquisto

Ambito culturale:

Nazca-Huari

Author/ School/ Dating:

Cloth fragment

Epoca:

VI-X - 501 - 1000

Misure:

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

Provenienza (nazione):

Perù

Tecnica:

cotone naturale e fibra camelide, punto ad arazzo

Ultimi prestiti:

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

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Cloth fragment

Descrizione:

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.

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Titolo dell'opera:

Cloth fragment

Acquisizione:

Schmidt y Pizarro 1938 acquisto

Ambito culturale:

Nazca-Huari

Author/ School/ Dating:

Cloth fragment

Epoca:

VI-X - 501 - 1000

Misure:

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

Provenienza (nazione):

Perù

Tecnica:

cotone naturale e fibra camelide, punto ad arazzo

Ultimi prestiti:

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

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Cloth fragment

Descrizione:

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Titolo dell'opera:

Anthropomorphic vessel with posterior stirrup spout handle

Acquisizione:

J. Puccio 1927 acquisto

Ambito culturale:

ambito Moche IV

Author/ School/ Dating:

Anthropomorphic vessel with posterior stirrup spout handle

Epoca:

V - 401 - 500

Misure:

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

Provenienza (nazione):

Perù

Tecnica:

argilla- a stampo

Ultimi prestiti:

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

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Anthropomorphic vessel with posterior stirrup spout handle

Descrizione:

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.

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Titolo dell'opera:

Bather

Acquisizione:

Giovanna Colombi Galletti 1990

Autore:

Galletti, Guido

Object Type:

sculpture

Epoca:

1930 - 1930 - sec. XX

Inventario:

855

Misure:

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

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Bather (Venus)

Descrizione:

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.

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Titolo dell'opera:

Torsione cubica

Autore:

Cerda, Antonino

Object Type:

sculpture

Epoca:

1980 - 1980 - sec. XX

Inventario:

4168

Misure:

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

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Torsione cubica

Descrizione:

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.

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Titolo dell'opera:

Space 15B

Autore:

Bozzola, Angelo

Object Type:

sculpture

Epoca:

1968 - 1968 - sec. XX

Inventario:

3266

Misure:

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

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Space 15B (large sculpture)

Descrizione:

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.

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Titolo dell'opera:

Implosion

Acquisizione:

Giovanni, Rizzoli 2005

Autore:

Rizzoli, Giovanni

Object Type:

sculpture

Epoca:

2004 - 2004 - sec. XX

Inventario:

3194

Misure:

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

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Implosion

Descrizione:

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-.

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Titolo dell'opera:

Spoleto

Acquisizione:

Ilva 2000

Autore:

Lorenzetti, Carlo

Object Type:

sculpture

Epoca:

1962 - 1962 - sec. XX

Inventario:

2437

Misure:

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

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Spoleto

Descrizione:

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.

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Titolo dell'opera:

Fire curtain

Acquisizione:

1988

Autore:

Ceccarelli, Giovanni

Object Type:

sculpture

Epoca:

1988 - 1990 - sec. XX

Inventario:

2421

Misure:

Unità di misura: cm; Altezza: 57; Larghezza: 91

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Fire curtain

Descrizione:

Nerone Ceccarelli, art name Giovanni Ceccarelli, was an Italian sculptor. He worked under the banner of research characterised by the integration of art and architecture, while elaborating sculptures linked to a strict geometric abstractionism. Between 1989 and 1990, Nerone took part in the competition for the firebreak curtain at the Carlo Felice Theatre in Genoa. He presented ‘Solo con un disco...’, ‘Bravo Nicolò!’ and ‘Trillo di Dio’. Ceccarelli was not the winner of the competition but, in 1990, he won a new competition with the work ‘Viva Schöenberg’. It is a sculptural surface of monumental dimensions, consisting of 125 panels for a total of 200 m², of rigorous geometric abstractionism on which Ceccarelli worked for months. One of the preparatory sketches is now on display in the Villa Croce collection, entitled ‘Sipario Tagliafuoco’. The geometric elements, made of different metals, are assembled together in a mixture of sculpture and painting.

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Titolo dell'opera:

Eros

Acquisizione:

Sandro Cherchi 1992

Autore:

Cherchi, Sandro

Object Type:

sculpture

Epoca:

1965 - 1965 - sec. XX

Inventario:

939

Misure:

Unità di misura: cm; Altezza: 70; Larghezza: 10; Profondità: 20

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Eros

Descrizione:

After his studies in Genoa, the artist moved first to Milan and then to Turin, where in 1948 he became professor of sculpture at the Accademia Albertina in Turin and participated in the Venice Biennale for the first time. The work (a bronze casting) proposes a technique that will characterise Cherchi's work and research from the 1940s onwards. The gestures and traces left on the bronze, which apparently appear uncontrolled, reveal on closer inspection recognisable elements and an allusion to the human condition that is so precise and mutable at the same time. The bronze is modelled as a soft material in order to reproduce in its solidity, at the end of the casting process, a result of maximum expressiveness and evocative effectiveness. It should be noted how in relation to the other work exhibited ("Testa" of 1946) a stylistic evolution in the direction of a much more abstract sculpture can be perceived.

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