Giorgio Morandi: The Art of Silence

Giorgio Morandi: The Art of S·lence Janet Abramowicz

Yale Un iversity Press New Haven and London

Co p Tight © 2004 by Ja net Abral11owi cz .

. If rig hts rese rved.

'1his boo k may not be reproduced, in whole or in

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rJ at opying pcrmitted by Sections 107 and 108

orthe U.S. Copyright Law an d e. cept by reviewers

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Set in Quadraat and The Sans Type by Amy Storm

Prin ted in Ch in a th roug h ""a rid Print

Library o f Congress Catalog ing- in-Publi cation Data

Abra lllowicz, Ja ner.

Giorgio Mora ndi: the art of s ilence I Janet Abra mowicz .

. em. I n d ude~

bibliographical re e rences and index.

I 1\, 0-300-1 0036-1 (cloth : alk. paper) l.

lorandi Giorgio, 1890- 1964. 2. Arti sts- ltal},­

"c)gr;lphy. I. Title: Art of sil ence. 1I. Morandi, G iorgio, 1890-1964. III. Title.

Chapte r fron ti s pi eces: Chapter

N Q23.M6A842004

I:

Seventeenth-century engraving of

Bologna. Photogra ph courtesy ofCo rinnJ Giudi ci; Chapter 2: Great Hall of th e Acca demia di Belle Ani, Bologna, 199\). Pho to graph courtesy of Al ex

..\ ca talog ue record for thi s book is available from

Abra mowi cz; Chap ters 3- 9, 11: ,\>lora ndi 's room

the Bri tis h LibrJry.

a nd s tudio . Pi ctured in Cha pter 5 fronti spiece arc

Til l' pa per in this book meets the guid elines for

an Ottonbn miniature and two etchings by .\!1 or.lndi.

pe rma nence JIld du ra bility of th e Committee

Photo gra ph s courtesy of the a uthor ; Cha pter 10:

on Prod uction Guidelines for Book Longevity of

Mora ndi 's studio. PhotOgraph courtesy of Bruno

the

Lamberti.

10

ou neil on Lihrary Reso urces . 9 8 7 6 5 4 3

2

I

To my mother and for my children, Alex and Ann

g of na Giudici;

diBellc .y of Alex 's room

.piece are ')' Morandi. Ipter 10: of Bruno

The art of poetry is amply distinguished from the manufacture of verse ... posed in a form

that it not only expresses the matter in hand

but adds to the stock of available reality.

-

R. P. Blackmur

Contents

Preface xi

Acknowledgments xvi

A World Within a Studio: Arte

Povera

I

2

Bologna: The Stagnant Marsh and the Weight of Tradition 23

3

Morandi

4

Pittura Metafisica: The Enigma of the Common Object

5

The End of

6

Morandi and the Novecento: Recognition from a Wider Audience 91

7

Unlikely Friendships: The Selvaggi and Strapaese 117

8

Mala Tempora Currunt: Bad Times Are Coming

9

A Decade of Delusions and the Road to War: Guerra,

10

The End of an Era: The Debacle of Fascism, 1945 167

11

The Casting of the Myth: The Last Years 193

Futurista: Education Before Verdun, 1914

Valori Plastici: The March on Rome, 1922

Notes 232

Selected Bibliography 254

Index 261

37

51

79

135

Guer-ra, Guer--ra

155

Marcello: Ah , I see you have a sp lendid Mo randi.

Steiner: Yes, I love it ve ry much. The objects seem to be bathed in the light of memory yet th ey're pai nted wit h such solidity and real feeling that you can almost touch them­ one might say that art has left nothing to chance. There is a calm that weighs on me. It is peace that makes me afraid .... Perhaps because I distrust it above everything. I feel that it's on ly an a ppearance, that it hides a danger.... They say that the world of the future

• ? It needs only the gesture of a madman to wi ll be wonderful. But what does th at mean destroy everything. -

Federico Fellini, La Dolce Vita , 1960

Preface When I was a student at the Accademia di Belle Arti in Bologna in the 1950s, Morandi was known as the Mago dell'Accademia (the Magician of the Academy). At the end of a typical day one would see the v ry tall a nd very thin white-haired figure of Morandi working in his large classroom that was dimly lit by a single bulb. He would be wearing a gray busi­ ness sllit as always and holding a fl aming torch that he flickered back and forth, depositing an even layer of soot to blacken the metaJ etching plates that he was preparing for his studen . Morandi lent us many of his

OW11

tools; he made our etching need les and pur­

chased large pieces of sheet metal, which he cut for us into plates and covered with the grounds that he had made from bees wax that he had brought from home. After I gradu­ ated, Morandi asked me to become his teaching assistant, which turned out to be a unique opportunity to work clo sely with him. I visited his house almost daily and was able to watch his wo rk evolve . Long after Morandi died, his three sisters and I continued our friendship , which was also extended to my daughter, Anni , who later studied at the university in Bologna. Mora ndi met with his students every Friday afternoon and Saturday morning to teach the only thing that he bel ieved could be taught-technique - in this case, the tec hnique of etching. There were no m asses of students rus hi ng to enroll in Morandi's class. My classmates were an interesting mix , and Moran di dealt with each of us as indi­ viduals. There were four women from Bologna, one of whom was a daughter of a jewelry shopkeeper (Moran di called her la porcina, the little piggy); a priest from Reggio Emilia (Morandi had grave doubts about his artistic ability); a young man who was the son of a

Spanish Communist who had fled from Franco's regime, and, in contrast to him, another student whose father had been a general in Franco's army; and Luciano de Vita, who at age thirteen had volunteered to fight with Mussolini 's army of the Republic ofSalo (Repubblica Sociale Italiana). At that time I knew no Italian, but a young student from Alexandria, Egypt, who spoke both English and Italian helped me through my first months at school. Neither my fellow students nor I had any idea of Morandi's grandeur as an

,

artist. We knew him primarily as a kind, patient, and polite teacher with an ironic sense of humor. I was not familiar with his work, nor was, as far as I know, anyone else in class, for although he had become well known in 1948, the year he was awarded an important first prize at the Venice Biennale, Morandi was no longer interested in exhibiting his works in Italy. It was almost impossible to see examples of them in public exhibitions. I was still a student in 1953 when Pompilio Mandelli , my painting teacher at the Accademia, took me to see Morandi's paintings in private collections in Bologna and Milan. I had come to Italy from the United States to join my husband, Artur, who was living in Bologna to study medicine at the university there . Born in Warsaw, he had served in the Second Polish Corps of the British Eighth Army during World War II and was with the first group that entered Bologna to liberate the city from the Fascists and the Nazi occupation. At the end of World War II he chose to live in Italy rather than return to Poland, and we stayed in Bologna for many years. I met some of my husband's univer­ sity professors who had been active in the Italian Resistance, and through Morandi I met men and women who were part of the cu'l tural and political milieu of postwar Italy. At the same time, I became aware ofthe complex and uneasy relationship that existed between Morandi and the Bolognese. For many years 'I had thought of Morandi as apolitical, isolated, and unscathed by the wreckage of Fascism, when, in fact, as I learned only much later, the Fascist years before World War II were active and rewarding ones for him. Only the book by the Ita]jan scholar Francesco Arcangeli (handpicked by Morandi to write about his life) was the exception to the published meager biographical details about Morandi. Arcangeli's book was the first to site Morandi in the context of his times and explored his connections to the Selvaggi and Strapaese groups, while, at the same time, excusing his relationship to Fascism. In 1994, the publication by Mandelli of,t he details of the brouhaha surrounding Morandi's refusal in 1961 to allow the publication of Arcangeli's important critical biog­ raphy suggested to me that there were many more stories that might be fur more inter­ esting than those of the official biographies that had been edited by the artist himself. Morandi, who was often at the center ofvicious polemics about his work, admitted to Arcangeli three years before he died about how much he needed "peace and tranquility, for in my whole life, I have had too little of either." Since Morandi valued his privacy in a country where that word does not even exist in the native tongue, the accounts of his life, so often based only on information that he provided, were meant to reflect the simplicity

xii

Ihim, another

and purity of his art-which is just what we wanted to see. Yet, the ac tual story of his life

Vita, who

turned out to be much like his art-a tale of silence.

tblic of Sal

a

tdent from

r first months

After Morandi's death in I964, his family continued to nurture his pure image. I knew this becaus e, when! expressed my concern to Morandi's sister Maria Teresa regarding letters I had written to the artist that were to be among the papers the family was donating to the Morandi Archives, she assured me that the family had screened a nd dis­

,deur as an

posed of much personal correspondence that they decided might not be relevant. Thus,

:onic sense of

his personal archives, now in the Morandi Museum and much ofwhich I ha~e read, possibly

~ lse

tell us only what his sisters wanted us to know about their brother'S life.

in class,

an important

•

By I928, the Morandi mythmakers had already created the legend of Morandi

hibiting his

th e hermit, one whose world was circumscribed by the three tables on which he created

exhibitions. I

his sti lllifes in a simple room in Bologna. I knew that Morandi was by no means the iso­

~e

lated and reclusive a rtist that so many writers seemed to enjoy describing-someone

Accademia,

Iilan.

who rarely left Bologna and who had little life beyond his studio. I believed that I could

Tur, who was

dispel some of the silly and inaccurate statements made about his life, such as the sim­

!w, he had

ple impression of him as a misanthrope, remote and colorless, and instead show him to

Var II and was

be the complex , cultured, and energetic person that he was-someone who also liked

,ts and the

to have fun. How could Morandi be described as a recluse when he taught almost a ll his

han return to

life in th e state's education system, participated in admini strative meetings that often

nd's univer­

took him to cities all over Italy, and served on committees of the Venice Biennale from I948

-\orandi I met

to 1959? I know that he had personal connections with many significant personalities

var Italy. At

of his day-actors, economists, politicians, scientists, and those in the art world- for I

sted between

met many of them at his house . The provincialism ofItalian life that Morandi tried so hard and successfully to escape hom is well portrayed in the early films of Fellini (both men

nd unscathed

were born in the Emilia-Romagna region). Feilini spoke to m e with affection and admi­

ascist years

ration about "il nostro amato Morandi [our beloved Morandi]." I, too, loved Morandi, for

by the Italian

he was a kind , generous, and fascinating friend and teacher.

ife) was the

Although Morandi constructed a wall of silence about his activities during the

mgeli's book

Fascist ventennio, he, like many who lived in Italy during those years, rarely spoke about

nnections

his associations with the Regime. As ifto confirm his "autonomous beginnings," Morandi

'lationship to

also shied away from discussing his participation in the small but thriving avant-garde

Jrrounding

that existed in Italy around the time of World War I. Some of the most noted art historians

critical biog­

-who were also Morandi's friends-refus ed to acknowledge the importance ofFuturism

more inter­

and Cubism to his wod, or his connections to the world of Dada. Morandi never men­

rtist himself.

tioned what had once been his close ties to the artists and writers associated with

Idmitted to

pittura metajisica, and ifhe did, he did not speak well of them-Carlo Carra, Giorgio de

"Jnquility, for

Chirico, and Mario Broglio, whose avant-garde magaz ine Valori Plastici (I9I8-22) ceased

rivacy in a

publication the same year that Mussolini became Italy's first Fascist prime minister. He

1tS of his life,

did talk about the artists and writers, such as Leo Longanesi and Mino Maccari (editors,

he simplicity

respectively, of the Fascist publications II Selvaggio and r:ltaliano), who were instrumental

Preface

xiii

in creating th myth of Morandi. BlIt by 1929 his fi'iendship with them had earned Morandi the sco rn of rigbt-wing £lctions within the Fas ci st part)' as well as the wrath of th ose who ran Bologna 's Acca demia di Belle Ani, where the followin g year he h ped to obtain a teaching position. Unlike Nazi Germany, Mussolini' s Italy did include libera l faction s witllin the Fascist pa rty that foug ht for freedom of expression in the visual arts." uring Fascism, " as Giorgio Bassani (author of The Ga rden of the Finzi-Co ntinis) explai ned to me in a 1989 inter­ view i.n Rome, "Morand i,s tilllifes held a moral lesson [or some )roung people of 111y generation, for in a period full of lie. and rhetoric, he was the least rhetO rical of anyone; his work was a lesso n for lI S in artistic integri ty." Bassani, who became acquainted with Morandi in 19 "6 wh ile studyi ng art history under Robe rto Lo nghi at the University of Bologna, added: "While Mussolini gave new meaning to the word rhetoric, Morandi's work was characterized by its abso lute absence." As new material aoout Morandi's life and studies of Fascist cu lture appeared , so tOo evolved the story of "another Morandi." Moranc]j 's engagement with the cultural and political events th:lt rocked Italy in the first halfof the twentieth century belies

~ome

of the myths that have long distorted our understanding of his work: tJ1at he was a self­ created artist and an antimodernist who worked outside the mainstream of contemporary European art. Another legend , created after World War ll , is Morandi the :mti-Fascist who, during the intetw'iew widl Mangravite, and

18 II Giornale del Mattino ceased publication in 1919. Its editor, Pietro Nenni, a former sccre­ tary of rorli's R.epub li can part)', had once sh~red a cell in pri son at l:orli with Benito Mussolini, at that time editor ofa Socialist newspaper. Both were arrested in [911 for demonstrating against thc Giolitti govern­ ment's colonial expansion into Tripoli. Nel1ui, who joined with the r:ascists in 1919, left th e party and became a Socialist in 1920. When he spoke out against the Fascists' violence, he was arrested and imprisoned by Mussolini. After his escape he remained in France from 1926 to 1943, after which he returned to Italy to fight witil the Resistance. '9 Lisca, De Chirico et I'avant-garde, 221 (letter dated August 3, 19 18). 20 Letter from Carra to Raimondi, April 17, 1918; quoted courtesy ofrhe Raimondi family. 21 Franchi, "Giorgio Morandi," 11 7-18 (rpt. Vitali, Giorgio Morandi pittore, 46) (italics added). 22 See Arcangeli, Giorgio Morandi, 84. 23 [' ranchi, "Avcrtimento Critico"; cited in Vitali, Giorgio Morandi pittore, 30. 24 [ thank Georgcs de Canino for providing me widl this reference in Edita Broglio's handwriting. 25 Morandi 's work was included along with that ofCarrir, de Chirico, Braque, and Zadkine in the advertisement about a book to be published in 1923 under th e imprint ofValori Plastid , Edi­ tions, Rome, and titled Le nioriassicisme dans I'art rontell1porail1, avec 66 reproductions en phototypie. See also Silver, Esprit de Corp5 , 89. "The pre-war [World War IJ artist of avant-garde tendencies coul d respond to a new sense of'organization' ... because history demanded classic ism .... Th e ncw classic age tilat was dawning was the next, Jnd inevitable, direction for the modern sensibiliry."

Notes to Pages 38- 65

2 15

26 Fos sati et ~ I.. Valori Plast i " 139.

with M. Va lsecchi, Pittura f s(ultura ita liana dal 19 10 al 1930 (1956).

27 B:ddacci, De Chirico, 90.

42 Letter from Mora ndi to Raimondi, September 17,

28 List:!, De Chirico tt I'avan t-garde, 26.

1919; in R;limo ndi, Anni can Giorgio Morandi. 195.

29 De Chirico, in Gauctta Fmarcse, June 17, 1918,12. 30 Briganti Jnd Coen, La pif1ur(l

m f ta.~5ica,

54.

31 Longhi , "AI dio ortopedico," 427 - 29.

32 Li sta, De Chirico et I'avant-gorde, 29. 33 Vitale, Murandi: ata logo genera Ie.

I!.

34 Solmi, Morandi e il suo tempo, 41 . 35 De ·hirico. in Gazzetta Fmarl'>f. Jun e 17, 19[8.

36 Fur more de[;]ils abou t th e riuts and the general strike uf)uly 20. 19[9, that Mor;lI1di discusses in a letter to Raimond i, sec Seton-W:ltson , Italy from Li btra li sm to Fascism , 524. Moran di t R.a i­ mondi, Jul y 22., [9[9; in R.aim ondi, Anni [O n Giorgi o Morand i. 185. 37 Rai mondi , Ann i con Giornio Morandi, 186. 38 The Bacchus \Vas discovered by Longhi in 19 16 , hur J nother arr historian, Matteo MJ rangoni, published iL ls a CJrJvaggio cupy in 19 17 and sent the ;micle to Raimondi in 191 8. According to Evang elisti, Raimundi pl anned to write an artic le on aravaggio (Evangeiisti, ,vlorandi e il Sli O tem po, 50). See al so Raimondi. I divertimenti Ictterari, 148. (Longhi published the attribution ro CJIJvagg io in 1922.) MorJndi, who was fas­ cin ated b? the slililite objects in the lloccilllS, IVrote to I~lim ondi on Jul y 22, 1919. requesti ng him "to a k Ma ran go lli for a photograph of the Bacchus," and also asked him to obtain a letter of in trodnction fi'om J\hrango n i that would ad mi rtbem to IllLIseUIllS still closed to the pub­ lic because of the W:Ir. Giuseppe Raimondi, Anni COil Giorgio Mora ndi , 185. For more about Mor:rndi's trip see Raimondi , "Due Bolognesi a ROlli;]." in I di vrrtimrnti letterori, 146 - 59 . Morandi had cluse fri endships with the leading lra lia n art historians throughout his life. Th ey val ued his judgment on attrib utio ns and on con se rv:1tion problems, an d he was oftcn con­ sulted in an official capacity by Cesare Brandi , Ces.1re Gnudi, and Arca nge/i.

43 The contra r, executed in l~ rugJiu', hanciwriting, was rather am bi guous. It appears that ,vlorancli was nliOl"ed to sell privately, but on ly after he had give n Brog lio Ih e seve n paintings he required, and at d price th at Broglio woul d dete rmin e. Moreover, Morandi WilS not to p,1I'ticipatc in any exh ibiti ons without Broglio's permissi on. Bra­ gagli;,r and Ra im ndi had plan ned to publi sh pho togra phs 0 Mor:lnui's work, a. ha d CarrCl, but because of Ihogli o's CO lllrJct they coul d not do so . In:ln unpu blished letter of 1927 , in the Broglio archives at rhe Mus um of Modern Art in Rome, Morandi l ks Broglio's permis­ sion to allow the crilic Ma rio Tinti [0 publish phutograp hs of hi s work in a pl:rnn ed 1110no­ graph; the monograph was never realized, and Broglio's response to this request is nut known. 44 Raimondi. i\nni con Glor,91o Morandi , IllS . 45 Broglio came from Piacenza. a small city north ofBo lognJ . He starrcd Valori Plastici supposedly because ofa dispute with Papini (the edirar of the tma pagin(l of II Tem po) over ;111 article Broglio wrme for that newspaper abo ut the Mostro d'lirtr Independente. Papini cut so lIluch of [hi s artic le that:!n angry Broglio decid ed to start his own lIlagaz in e that would be so lely about art. He began \Ialori Plastici with Roberto Melli and su bsequently had two oth er parrner~ . ,"la ri o Girardon and Fla minio Martellotri , both ofwholl1 were we ll -k nuwn Roman couru riers. Broglio's September 1922 conU'Jcr wi th M;we/­ lotti stated rh'lr he would be p:lid not less than 2 ,000 lire a month for ten years for fonning J collection of modern art for the couturi er. See l'os ~ Jri el aI., Valol'i Plastid, 289. 46 A biography from the ex hibi tion cat. Joguc of

Le$ Riolis11I r.s 19 19-1939 :It th e Musec Pompidou, Pa ris , 1980, touc hes on problem' rhil t Edita Brog lio had with the r-ascist reg ime :lnd tha t caused her to leave 1[;]1 in 19 27. 130th Edita and Mario Brogli o serried in France. aneI Bmglio 1V0uid conti nue to travel [0 and from Italy. In 19'5 Oppo arranged for Mario Broglio to exhibit in Rum '5 1935 Quadriennale. and both Brogl ios returned to II;1ly.

39 Cavallo , "/\ Prato ptr uedere i oro!," 166.

40 Raimondi. Ann i COIl Giorgio Mo rand i, 199. 4[ elstel ranco la ter beca me a well -known critic

and :!uthO!' ofsel'cralmaj or books, alllong them La pitturo modern a 1860- 19,0 (1934) aIld,

47 Fossati, Valori Plastiti 1918-1922, LOr.

48

ee Cavallo, "'\ Prato per vedere I Coro t." 29 .

dal

The End of

lack of collectors ofpittura metafisiea. Broglio's partners were Mario Girardon :lI1d a Rome tai­ lor known as F1,lIuinio Mmtellotti ; each of the three rook his share of the paintings that Broglio had ea rlier acquired fi'om Can'a, de Chirico, and Mor,mdi.

5

Valori Plastici

oiling,

randi chad rcd, Ie. n :Jl1}'

Bra­ sh Id I,

in

Uern I~­

sh 0­

and own.

'orth sedly ro f

hoI'

~ rt()

~ers. loth ·rs. llel­ [an

:3 ee

' nd

Ibit lOS

Epigraph: S. Dali, "Nouvelles limites de 1tract Painting," 448-71. 6

See also Arcangeli, Giorgio Ivlorandi, 164. These debates by Italian artists and critics involved Marxi st artists who endorsed a "nlOral art," meanin g a represen ta tiollal art that "po rtrayed local stru ggle Jnd popular v;llues," that is , a realistic portraya l ofevellts th;H wcrc currently t;lking place in Italy. Arcangeli presented an alternative to th e socia l reali sts (~ nd other ~rti s ts who wcre workin g ill non figurative abstraction [stra tto concreto]) by writing about what he ca lled gli ultimi naturalisti (t he most recent naturalists), which was firs t published in Longhi's m~gJZinc Pamgont in 1953 (Arcan­ geli, "Gli ultiI11i natmalisti, " 313-26). The shock of having see n Jackson Pollock's works at the 1948 fli en nalc ca used Arcangeli to ques­ tion "what could peoplc think of our age ifonly classical and ca lm works survived to represent the terribl e oppression and anguish of the post-war period. " He wrote that Po ll ock's works show "our inevitable [feeli ng of] alien­ ;.nion." Arca ng~li believed that some form of abstraction was th e ollly legitimate choi ce fo r a painter of the twenti eth century; Arcallge/i, "I pittori ~Jllericani ill la citt~," 326. ArcJngeli began writing about a Lombard and Emilian naturalism, choosin g exa mples ofa regional culture that produced, among others, twelfth­ ce ntur)' natural ist sculptors such as Antelami from Parma and Wiligelmo , whose work lVas on th e facades of the ca thed rals in Modena and Ferrara. Arcangeli $uggested that his group of young abstract pa imers trom Bologna ~J1d Milan were involved with a new "tradition ," as the naturalisti used ges tural, vi sceral strokes and ap plied paint thi ckly. These artists were not followers of rea lism, but they maintained

Notes to Pages 178- 94

249

-

some relationship to a visual world , llluch as the painters of the French informel -Wols , Fautrier, and Tapies-did. In 1955 ''''orandi mentioned to me that Arcangeli, who had recently begun work on his book about the artist, was wasting his time writing about this group of young painters, and he should instead focus OIl his book on Morandi. Arcangeli would later relate Morandi's oft-repeated joke regarding the type of paintin g that ArcangeJi described in his ,uric/e abollt the young painters in "G li ultimi naturalisti": "A perspec­ tive on nature seen from the eye of a chicken while s he pecks at the grass" (Una natura vista dall'o cchio della gallina quando becca I'erba); Mandelli, Via delle Belle Arti, 69. 7 Trombadori, "Sericta e limiti di Morandi," 156-58.

9 De Mich eli, "Rea lismo e poesia," 43. IO See

Argan, "Pittura italiana e cultura europea," 29'5. Beginning in 1938 Giulio Carlo Argan (1909-1993) worked with Cesare Brandi under Bottai at the offices of the Direzione Gcncrale di Belle Arti, remaining there as an ispettore cen­ trale (central inspector) for national Illuseums and galleries until 1955. Argan also repre­ sented the Ministero deJl'Educazione on the selection jury for the first I'remio Cremona and for the first Jnd second Premio Bergamo. Because of his party affiliations he was nomi­ nated mayor of Rome in 1976. Vitali , Morandi Calalogo Genera Ie,

I I.

12 Brandi, "Europeanismo e Jutonomia di

culrura," 69-86. I

3 Brandi, Morandi lungo Ii cummino, 74; the Italian

reads: "eppure senza lasciarsene infestare culturalisticamente. " 14 Vitali , "Giorgio Morandi. ,. 15 Sob)'. "Painting and Sculpture Since 1920, " 26. 16 Brandi, "La mo strJ dell'arte itaiiana modern a a

New York ," 294 - 96. 17 Pallucchini, "A lb Biennale di San Paolo." 18 Sterling, La nalure morte de I'antiquiti ii nosjours, 230.

Dialogues on Art,S.

21 Venturi, Giorgio Morandi. 22 Cited

in Bandera, Morandi 5[/9lie Morandi, 9.

23 Venturi, Giorgio Momndi, Rctrospwive. 24 Abramowicz , untitled essay, Giorgio Morandi,

3 2 -37. 25 The article titled "Morandi Interiore" was first

published in 1954 and later republished in Rag­ ghianti, Bolo!ln(l CIuciale 1914,196. 26 Wesehler, Seeing Is forgctting, 57. 27 Bandera, MOrcIndi seeglie Morandi, 81. At the

Biennales MJraini had introduced programs about Illusic, the cinema, and the theater and created an archive of co ntemporary art. 28 Bandera, Morandi scegl ie Morandi, 55.

8 De Grada, "Le belle arti, " 12-19 .

II

20 Roditi,

Mandelli, "Le ore con Morandi ," 184. In a

195 8 interview Morandi told Edouard Roditi

that "I have nothing in common with Mon­ drian"; Roditi , Dialogues on Art, 55. 19 james Thrall So by, "A Vi si t to Morandi," 5.

29 Bandera , II ca rteggio Longhi-Pallurchini,

21.

30 Ibid. , 18. 31 Arcangeli, "Tre Pitrori Italiani," 27. 32 Following are the eleven Morandi paintings

that were exhibited at the 1948 Biel1nale; with the exception ofV. 27, V. 35, v. 46, and V. '51, these works were cxhibited here for the first time. Also listed are the collectors, who were among the most discernin g of the time. V. 26, 1916: Collection Pietro Rollino, a exeCll­ tive at the Olivetti Com pan)!. V. 27, 1916: Listed in the catalogue as private collection, Bologna. This work belonged to Morandi and had been exhibited at the 1939 Quadriennale. V. 28, 1916: Feroldi Collection, bter acquired by Gianni Mattioli. V. 35, 191 8: Collection Emilio jesi, Milan. This painting had been exhibited in 1939 at tbe San Francisco World 's ~air. V. 39, 1918: Private collection, Milan. V. 40, 1918: Private collection , Milan. V. 42, 1918: Collection Count Alfonso

Orombelli.

V. 43, 1919: Collection Emilio jesi, Milan. V. 44 , 1919: Collection Emilio jesi, Milan. V. 46,1Iarianne W. Futurist Art and Theory 1909-1915. Oxford, 1968. Mattioli Rossi, Laura, ed. Morandi ultimo, nature morte 1950-1964. Exh. cat. Milan, 1997. Mattioli Rossi, Laura, and Emily Braun. Masterpieces from the Co llection ofGianni Mattioli. Milan, 1997. Monk, Ray. Ludwi,g Wittgenstein: The Duty of Gen ius. New York , 1990. Montanelli, Indro, and Marcello Staglieno. Leo Longanesi. Milan, 1984. Mundy, jennifer. Giorgio Morandi Etchings. Exh. cat. London, 1991. Onofri, Nazario Sauro. I socialisti bolognese nella resistenza. Bo logna , 1965. ___ . Igiornali Bolognesi nel ventennio Jascista. Bologna, 1972. ___ . Ebrei efascismo a Bologna. Bologna, 1989. Oppo, Cip riano Efisio. "AII'esposizione 'primaver­ ile' fiorentina. " Valoti Plastid (july 15,1922). Ci ted in Appella, Giuseppe, and Lorenza Trucchi. Mino Maccari . Exh. cat. Rome: Palazzo Ruspoli, 1993. Orienti, Sandra. "II ritorno di Valori pla,tici: Incontro can Edita Broglio." La !'iera Lettaria (january [4, 1973)· Pa llu cchini , Rodolfo. "Alia Biennale di San [laolo, Omaggio a Morandi." /I Resto del Carlino, September

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___ . Via delle Belle Arti. Bologna, 1992. ___ . "Storia di una monografi,l." Arcademia Clementina: Atti e Memorie, no. 35-36 (1995-96). ___ . "Ritratto di giovanena." Acrademia Clementina: Atti e Memorie, no. 33- 34 (1994). Mangoni, Luisa. L'interventisl11o della eultura: Intellft­ tuali e riuiste delfascisl11o. Bari, 1974. Maraini, Antonio. "Introduction." In XVII Esposizione internazionale d'arte della citta di Venezia. Venice, 1930. Marchini, Ginn Paolo, and Simona Tosin i Pizzetti. Giorgio Morandi; Le 50 opere dellafondazione Magnani Rocca. Exh. cat. Verona, 1992.

Pasquali, Marilena. "Morandi e il djbattito artistico negli anni trenta." In Quaderni Morandiani 1. Edited by Franco Solmi. Milan, 1985; also in Morandi e it suo tempo. Exh. cat. Edited by Franco Solmi. Bologna, 1985. ___ . "Quelle sabbie portare a vibrare ... " In Morandi e il suo tempo. Edited by Franco Solmi. Bologna, 1985. ___ . Morandi-Acquarelli: Catalogo genera Ie. Milan, 1991. ___ . Giorgio Morandi, artista d'Europa. Exh. cat. Milan, 1992.

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