2020 Art Quadriennale

Carlo Belli publishes Kn, the bible of abstract art according to Vasilij Kandinskij

Marguerite Caetani, Princess of Bassiano, supports the work of Scipione during one of the most difficult periods of the life of the painter from Le Marche region.

Minnie Smolkova Casella, a dancer since childhood, is invited to the I Art Quadriennale to talk about dance, so she decides to dance the words.

Ercole Patti’s amusing satires describe the art savvy ladies who accompany curious critics to the Art Quadriennale.

Elsa De Giorgi, actress of Telefoni Bianchi films and Pasolini’s cinema, recounts the dialectical duels hosted in her Roman living room in her novels.

Vitaliano Brancati writes about Rome depicted by painters in Diario Romano.

Luigi Squarzina, in the play The Universal Exhibition, describes the buildings of the E42 transformed into a refugee site.

Cipriano Efisio Oppo escapes to Venice in 1944, where he was arrested by the partisans.

Gastone Novelli between the stage of Teatro della Cometa and Simon’s Le Jardin des Plantes.

The IV Art Quadriennale is inaugurated on the sly in the middle of wartime, while everything around was collapsing.

The funeral dandyism of Lorenzo Tornabuoni, who revisits a troubled and restless Egon Schiele.

The Pecci-Blunt couple throws one last party in 1938, recounted by Curzio Malaparte in Diary of a Foreigner in Paris.

Sandro Penna trades contemporary artworks.

Paola Masino collects tarots painted by the greatest artists of her time.

Giorgio Vigolo’s fantastic Rome.

Osvaldo Licini insults his old friend and fellow academician Giorgio Morandi, who he now considers to be dedicated to Decorativism, in the 1939 Quadriennale.

Fausto Pirandello takes stock of the state of the art in his presentation text to the 1951 Quadriennale.

Alberto Moravia wonders why he did not become a painter.

Enrico Prampolini draws the sets and costumes of Malipiero’s Capricci di Callot at the Rome Opera House in 1942.

Alberto Arbasino insists with Giangiacomo Feltrinelli for the cover of his book La narcisata to feature a Catullus by Cy Twombly.

Leonor Fini paints ghosts in Piazza del Gesù and buys Saracen towers with Anna Magnani.

Libero de Libero and his Borrador: the diary of bitterness.

Mimì Pecci Blunt organizes in Rome: art, theater and music.

Mario Praz quarrels with Mario Schifano over a difficult cohabitation and Luchino Visconti draws the subject of Conversation Piece from this incident.