Museums in Genoa
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Hyacinthe Rigaud (Perpignan, 1659 - Parigi, 1743)
Olio su tela, cm. 101 X 80
Rigaud. Battina Raggi (foto Visconti 2011)
Wolfsonian Museum
The Wolfsonian Museum is part of a group of Museums in Nervi together with the GAM Modern Art Museum, the Giannettino Luxoro Museum and the Frugone Collections.
The collection, created by the American philanthropist Mitchell “Micky” Wolfson Jr. and donated by him to the city of Genoa through the Palazzo Ducale Foundation for Culture, focuses in particular on the decorative and propaganda arts of the period 1880-1945.
Starting from the taste for the exotic which spread in Italy during the nineteenth century, the exhibition encompasses the major linguistic and expressive currents of the first fifty years of the twentieth century, from Liberty to Déco, from the twentieth century to Rationalism, to offer the visitor a panorama of the period between the last decades of the nineteenth century and the first half of the twentieth, in which the artistic expressions interacted closely with the political, social, economic, technological and aesthetic context in which they saw the light.
Thanks to the vast variety of artefacts preserved - paintings, sculptures, furniture, glass, ceramics, metals, fabrics, architectural drawings and designs, posters, sketches, graphics, books, magazines and documents - mainly related to the Italian context but with significant evidence of the foreign influence, the Wolfsonian collection documents, faithful to the approach of its creator, not only the aesthetic values of the objects it contains, but also the profound historical and social significance of the time.
The museum is characterized by its chronological-thematic layout, which involves the reconstruction of entire rooms, it also has an area dedicated to temporary exhibitions.
The Wolfsonian Museum is something unique in the rich panorama of Italian museums. First of all, for the figure of the collector who with passion and curiosity formed this important artistic collection over the years, encouraging, at the same time, an institution which was to be entrusted with its conservation, study and growth. Secondly, for the originality of the collection which, consisting of a wide range of materials - paintings, sculptures, furniture, complete furnishings, glass, ceramics, wrought iron, silver, fabrics, architectural drawings, graphics, posters and advertising materials , sketches and drawings, books and magazines - focuses mainly on the decorative and propaganda arts from 1880 to 1945.
However, the collection is not limited to identifying the aesthetic values of the objects, but above all focuses on the historical and social meanings that they convey. In fact, each piece of this collection contributes to recomposing, in a dense network of historical and artistic references and counterpoints, the complexity of a historical period that has marked the birth and evolution of the contemporary era. All the works contribute to analysing those factors of change that characterized this dense historical period: the profound links between art and politics; the dialectic between avant-garde impulses and references to tradition; changes in taste in the field of furniture; the contribution of new materials and new technologies in the evolution of design; the impact on the society of the time by new means of transport; the sophisticated use of persuasive messages in advertising; the interaction between the great urban transformations and the formation of a new industrial civilization.
Visit route
The exhibition is based on two fully accessible floors. All floors are connected via an accessible lift, with a beep sound signalling elevator arrival and door opening/closing.
Accessibility for wheelchair users
A wheelchair is available for use. Please ask a member of staff who will be able to assist.
Toilets
It is possible to use the accessible and equipped restrooms located on the second floor.
Parking
It is possible to leave the car, equipped with a blue badge (art. 12 DPR 503/96), in the reserved parking spaces in Via Capolingo, next to the Museum entrance (2 spaces). Due to the presence of a 5 cm high step on the right side of the parking spaces and the lack of a protected and marked route, visitors in wheelchairs will have to face a short stretch of road down to the roadway. It is also possible to park in the Nervi Station parking lot, which has 130 parking spaces and is 400 metres away.
Combined Ticket for the Museums of Nervi (Raccolte Frugone, GAM, Villa Luxoro, Wolfsoniana)
From Tuesday to Thursday: reduced admission
Friday, Saturday and Sunday: full admission
Full price: €14
Reduced: €9
Special reduced price: €2 for visitors aged 18 to 25
Who is entitled to a reduced ticket
Who can enter for free
In the case of special events or temporary exhibitions, ticket prices may vary.
Booking online (presale 1 €).
For complaints and returns download this form
In case of impossibility to visit the museum, you can request a refund of the entrance tickets (single, full or reduced, cards), including those purchased online. The refund request must be submitted within 15 days of the outage using this form.
Ticketone Sales Points
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Tabaccheria Tredici Bis di Galli Fabrizio - Piazzale Parenzo 23/R 16139 Genova
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Anton Von Maron (Vienna, 1733 - Roma, 1808)
Olio su tela, cm. 133 x 97
La dama raffigurata in questo ritratto di Anton von Maron, pittore viennese allievo di Mengs, è la moglie di Anton Giulio II Brignole-Sale, Anna Pieri Brignole, vivace e colta esponente del patriziato senese, sposa dell’aristocratico genovese nel 1786. Trasferitasi a Genova in un nuovo appartamento all’ultimo piano di Palazzo Rosso (oggi chiuso al pubblico in attesa di restauro), la nobildonna senese ospiterà nel suo salotto gli intellettuali illuministi del tempo. Spesso a Parigi, Anna Pieri sarà ammessa come dama di palazzo alla corte di Maria Luisa d’Austria, seconda moglie di Napoleone, ottenendo da Bonaparte il titolo di contessa e per i figli prestigiose cariche. Von Maron, conosciuto per essere stato il ritrattista ufficiale della corte austriaca, eseguì il dipinto, caratterizzato da un’evidente sensibilità tardo-settecentesca e da uno stile aggraziato e prezioso, durante un soggiorno genovese della dama nel 1792.
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Sala dell'Autunno
Sala Autunno-foto Visconti 2012
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