Giorgio Morandi Study Days


May 19, 2016

The Center for Italian Modern Art is pleased to host its Giorgio Morandi Study Days on May 19 and 20, 2016. Each year CIMA’s exhibition serves as a kind of platform or theme to spur new research and dialogue, through the work of our fellows and other scholars; CIMA’s Study Days provide an opportunity for the sharing of this new scholarship and an in-depth discussion of the artist’s work.

The exceptional presentation at CIMA of a substantial number of works by Giorgio Morandi from the 1930s offers an unprecedented opportunity for an in-depth analysis of the artist’s aesthetics, as well as of the intellectual and socio-political contexts of this decade. And the ready comparison with works from the rest of his career, which are also present in the show, allows for an examination highlighting particularities and continuities in Morandi’s practice.

This decade in the artist’s production is less known and less studied for a variety of reasons: Morandi’s painterly output in those years was limited, as printmaking became an integral part of his work following his appointment as professor of etching at the Accademia di Belle Arti in Bologna in 1930; the majority of the paintings from the decade, moreover, entered Italian private collections, and they have rarely been exhibited abroad; finally, the historical context of their production, Fascist Italy, has long complicated scholarly approaches to this body of Morandi’s work.


$25 for both days, which includes lunch on May 19 and a reception on May 20.

$10 for CIMA Members and for students with valid ID from a degree-bearing institution.



PROGRAM SCHEDULE (subject to change)

DAY ONE: MAY 19 (10am – 6pm)

10am Registration and Viewing of Giorgio Morandi exhibition

10.30am Welcome and Introduction

Panel 1: A Critical and Technical Overview of Morandi’s Paintings from the 1930s

Morandi in the 1930s: Reflections on Some of his Pictorial Masterpieces
Flavio Fergonzi, Professor, Scuola Normale Superiore, Pisa

The role of underdrawing in Morandi’s work and some considerations on his painting technique
Gianluca Poldi, Conservation Scientist, Visual Art Centre, Università di Bergamo

Question & Answer


Panel 2: Collecting Morandi in 1930s Italy

Morandi’s Collectors in the 1930s: the case of Rino Valdameri
Rachele Ferrario, Accademia di Brera + University of Milan, IULM

Il Mio Morandi: The Luigi Magnani Collection at the Magnani Rocca Foundation
Alice Ensabella, Universita di Roma 1 La Sapienza, Universite de Grenoble

Question & Answer

BREAK (3:30pm – 4pm)

Panel 3: On Morandi’s Intellectual Context in the 1930s

A book on Morandi’s bedside table: “Saper Vedere” by Matteo Marangoni
Laura Mattioli, CIMA President

Morandi and Puro-visibilismo: a Link between “Ethics and Expression”? (1930-43)
Lucia Piccioni, CIMA 2015-16 Fellow

Posthuman Humanism: On Morandi’s Bottles (and Proust’s Spoons)
Alessandro Giammei, Society of Fellows, Princeton University

Question & Answer


DAY TWO: MAY 20 (1:30pm – 6pm, followed by reception)

1.30pm Registration / Giorgio Morandi exhibition viewing/ Welcome

Panel 4: Morandi’s North American Reception

Quivering and Shadowy: Morandi’s American fortunes in the 1930s
Nicol Mocchi, CIMA 2015-16 Fellow

Conquering the Paris of Appalachia: Morandi’s Participation in the Carnegie International Prize
Nicola Lucchi, CIMA 2015-16 Fellow

Enter Morandi. The Reception of Giorgio Morandi’s Work in the 1950s in New York.
Matilde Guidelli-Guidi, CIMA 2015-16 Fellow

Question & Answer

BREAK (4pm – 4.30pm)

Panel 5: Artists Looking at Morandi

Morandi and His Photographers
Alessia Masi, Museo Morandi, Bologna

Morandi and Contemporary Artists
Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, Whitney Museum of American Art

Question & Answer