Palma Bucarelli - art historian and curator

Iconic figure who transformed major Rome gallery

Palma Bucarelli, who was the dynamic director of
Rome's major modern art gallery for more than 30 years

Palma Bucarelli, an art historian who for more than 30 years was director and superintendent of the Galleria Nazionale d’Arte Moderna (GNAM) in Rome, was born on this day in 1910 in the Italian capital.

Under Bucarelli’s dynamic leadership, GNAM was transformed into a major centre in Italy’s cultural life, staging groundbreaking exhibitions featuring some of the biggest names in modern and contemporary art, such as Pablo Picasso, Piet Mondrian, Jackson Pollock, and Mark Rothko.   

A champion of abstract and avant-garde art, for which she was a powerful advocate, she also worked hard on behalf of Italian artists to showcase their work alongside their international counterparts.

Turning GNAM into an active space for public engagement and encouraging debate that challenged traditional perceptions of modern art, she helped position Italy as a significant player in the contemporary art scene during the mid-20th century.

As a powerful woman in a male-dominated world, who at the same time cut an elegantly stylish figure, Bucarelli also became something of an icon of female emancipation.

Bucarelli’s father, Giuseppe, was a high-ranking official in the Italian government who would eventually be appointed vice-prefect of Rome. It was from her mother, Ester Loteta Clori, that Palma and her sister, Anna, inherited a taste for culture, both becoming passionate about music, theatre, fashion and art.

Bucarelli, elegantly stylish, was regarded by some
as a trailblazer for female emancipation

Palma Bucarelli was educated at the Liceo Ennio Quirino Visconti, the oldest classical high school in Rome and one of the most prestigious in Italy. From there, she progressed to the Sapienza University of Rome, where she graduated in literature. 

Already keen to forge a career in the arts world, she successfully entered a competition run by the Ministry of National Education for the post of Inspector of Antiquities and Fine Arts, after which she was assigned to Rome’s Galleria Borghese art museum at the age of just 23.

After working briefly in Naples, where she became acquainted with the philosopher and historian Benedetto Croce, Bucarelli returned to Rome and took over the direction of the Galleria Nazionale d’Arte Moderna soon after turning 31. It was unusual, perhaps unprecedented, for a woman to be appointed to such a prestigious role.

By this time, Italy had entered World War Two and one of Bucarelli’s first major tasks was to move works of art away from the gallery to places of safety, a process that needed to be carried out amid secrecy. Some were concealed within hiding places in Castel Sant'Angelo in Rome, others taken to Palazzo Farnese in Caprarola, well away from the capital in northern Lazio.

After the liberation of Rome in 1944, the gallery was gradually reopened and Bucarelli, who had a clear vision of how she wanted it to evolve under her leadership, began to develop her plans.

A portrait of Bucarelli by Giulio
Turcato, an abstract impressionist

The proposed function of the gallery when it was opened in 1883 was to be a home and a historical archive for Italian and foreign art from the 19th century onwards. When Bucarelli became director, it proudly represented the history of the artistic trends in that time, from neoclassicism and impressionism to the avant-gardes of the early 20th century through futurism, surrealism, the Novecento movement and the Roman School that was at its height between the late 1920s and mid 1940s. 

Bucarelli’s ambition was to preserve that core purpose and to enhance it. She wanted the gallery to exist not just as a repository for important works of art but to be at the heart of Italian culture and, though she clashed at times with traditionalists in her desire to be at the cutting edge as artists explored new boundaries, her transformative work generally met with approval.

In her time, GNAM moved on from simply housing works of art, becoming a meeting and information point for artists, art critics and the public. She also equipped the gallery for the modern world, adding functions that would in time be seen as standard in a modern museum, such as educational services, a library, cafeteria and bookshop. She also took steps to increase footfall by offering book presentations, meetings with artists and important exhibitions, showing off the museum’s vast existing collections but also offering the public the opportunity to appreciate new artists.

The gallery hosted fashion shows, too, which in part reflected her own interest in stylish clothes. Bucarelli was a much-photographed woman. Alongside a personal collection of artworks, she preserved many elegant items from her wardrobe, some of which were donated to the Boncompagni Ludovisi Museum in Rome, which specialises in decorative arts, costume and Italian fashion.

Married in 1963 to the journalist Paolo Monelli, whom she had known for 30 years, she stepped down as GNAM’s director in 1975. She died in Rome in 1998 at the age of 88.  One of the approach roads to the gallery, linking Viale delle Belle Arti and Viale Antonio Gramsci, was renamed Via Palma Bucarelli in remembrance.

The Galleria Nazionale d'Arte Moderna's current
headquarters was completed in 1915

Travel tip:

The Galleria Nazionale d’Arte Moderna, home to almost 20,000 paintings, drawings and sculptures, was founded in 1883 on the initiative of the Minister of Education in the young Italy’s government, Guido Beccali. The gallery’s main building on Via delle Belle Arti, within the Villa Borghese park just north of Rome’s city centre, was designed by Cesare Bazzani and built between 1911 and 1915.  Bazzani returned to double its size in 1934. Around 1100 items from its collection are on display at any one time. Artists whose work can be admired there include Italian greats Giacomo Balla, Umberto Boccioni, Antonio Canova, Giorgio de Chirico, Amedeo Modigliani, Giacomo Manzù and Giorgio Morandi. The museum also holds some works by foreign artists, among them Cézanne, Degas, Duchamp, Mondrian, Monet, Jackson Pollock, Rodin, and Van Gogh.  The gallery is open everyday except Mondays from 9am to 7pm. Entry costs €15.00.

The Palazzo Farnese, with its hexagonal shape,
was built by the future Pope Paul III

Travel tip:

Caprarola is a small town in northern Lazio, situated about 20km (12 miles) southeast of Viterbo, not far from the picturesque Lago di Vico. The town is dominated by the imposing pentagonal Palazzo Farnese, built in the 16th century. With its well preserved frescoed interiors, a magnificent helicoidal staircase, the Sala del Mappamondo, the Sala degli Angeli and its splendid Italian garden, the palace is a unique architectural jewel well worth visiting. To enhance the view from the villa, architect Jacopo Barozzi da Vignola built the Via Dritta, today known as Via Filippo Nicolai, a long sloping street that stretches out from its main entrance almost for half a mile without deviating from the straight. The road divided the village neatly into two districts, named Corsica and Sardinia. The Villa Farnese, originally the home of Cardinal Alessandro Farnese, the future Pope Paul III, is said to have been the inspiration for the design of the Pentagon, headquarters of the United States Defense Department in Washington. It has no occupant today but a smaller building, known as the Casino, within the villa’s extensive gardens, is one of the properties at the disposal of the President of the Italian Republic.

Also on this day:

37: The death of Roman emperor Tiberius

1820: The birth of tenor Enrico Tamberlik

1886: The birth of athlete Emilio Lunghi

1940: The birth of film director Bernardo Bertolucci

1978:  The kidnapping of ex-PM Aldo Moro

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Mantegna frescoes reduced to rubble

Precious works of art damaged by Allied bombing

A photograph taken soon after the raid
shows the scale of damage to the church

One of the heaviest losses to Italy’s cultural heritage during World War Two occurred on this day in 1944 in Padua in the Veneto region when 15th century frescoes painted by the artist Andrea Mantegna were blown into thousands of pieces by bombs.

A raid on the city was carried out by the Allies, hoping to hit Padua’s railway station and an adjoining marshalling yard, as well as a building where the occupying Germans had established their headquarters. But the bombs landed on Padua’s Chiesa degli Eremitani instead, causing devastating damage to frescoes created by the young Mantegna in one of the side chapels.

It was one of the worst blows inflicted on Italy’s art treasures during the war, as Mantegna’s frescoes, which had been painted directly on to the walls of the church, were considered a major work.

Andrea Mantegna, who was born near Vicenza in 1431, had been commissioned to paint a cycle of frescoes in the Ovetari Chapel, one of the side chapels in the Church of the Eremitani.

The commission marked the beginning of Mantegna’s artistic career when he started work at the age of 17 in 1448. The artist was in his mid-20s by the time he had finished the cycle in 1457, which showed scenes from the lives of Saint James and Saint Christopher. 

Some of the scenes from Mantegna's
frescoes have been partially restored

Because of the historical value of Mantegna's work, the Church of the Eremitani was on a list of buildings and monuments Allied bombers had been instructed to avoid. However, tragically, the German invading army had established their headquarters in Padua right next to the church.

When the bombs fell in 1944, targeting was not as precise as it is today and the Ovetari Chapel was severely damaged. Mantegna's wonderful frescoes were reduced to more than 88,000 separate pieces, which were later found mixed in with bits of plaster and bricks on the ground.

Fortunately, a detailed photographic survey of the work had been made previously and it was possible later to reconstruct the artist’s designs and recompose part of the cycle depicting the Martyrdom of Saint James. The photographic record was used to create panels in black and white where Mantegna's frescoes had been.

 Recovered fragments that could be identified were then fixed to the panels in their original positions, so that at least a partial reconstruction could be carried out. Colour has been applied to other parts of the panels to give visitors to the chapel a better idea of how the frescoes originally looked. 

Other frescoes by Mantegna, including the Assumption and the Martyrdom of St. Christopher, had been removed before the war to protect them from damp, and they remained undamaged and were eventually reinstated in the church.

In other chapels in the church, 14th century frescoes painted by Guarentio and Giusto de’ Menabuoi miraculously survived.

Padua was bombed 24 times by Allied aircraft between December 1943 and the end of the war. On  March 11, when the Church of Eremitani was hit, the city was attacked by 111 planes, which dropped 300 tons of bombs.

The previous month, during the Battle of Rome, the Abbey of Monte Cassino to the south east of the capital city, which was the oldest Benedictine monastery in the world, was destroyed by Allied bombers. This is now acknowledged as one of the biggest strategic errors of the Second World War on the Allied side.

Some of the remains of Padua's Roman
amphitheatre are still standing

Travel tip: 

Padua is believed to be one of the oldest cities in northern Italy. It was founded in about 1183 BC by the Trojan prince, Antenor. The Roman writer, Livy, records an attempted invasion of the city by the Spartans in 302 BC. Later attempts at invasions were made unsuccessfully by the Etruscans and Gauls. The city formed an alliance with Rome against their common enemies and it became a Roman municipium in about 49BC. By the end of the first century BC, Padua was the wealthiest city in Italy, apart from Rome. The Roman name for Padua was Patavium. You can still see the remains of the Roman Ampitheatre, or Arena as it was known, which is in Padua’s Giardino dell’Arena. The main entrance would have been near the present-day Piazza Eremitani, where the Church of the Eremitani is located. 

The Chiesa degli Eremitani in Padua dates
back to the mid-13th century 

Travel tip:

La Chiesa degli Eremitani - Church of the Eremitani or Church of the Hermits - is a former Augustinian Gothic-style church close to the Cappella Scrovegni in Piazza Eremitani in the centre of Padua. The church was built for Augustinian friars between 1260 and 1276 and dedicated to the Saints Philip and James. The friars remained in the church and adjoining monastery until 1806 when Padua was under Napoleonic rule and the order was suppressed. The church was reopened for services in 1808 and became a parish church in 1817. The church has a single nave with plain walls decorated with ochre and red bricks and it has a vaulted wooden ceiling. It houses the ornate tombs of two lords of Padua, Jacopo II da Carrara and Ubertino da Carrara, designed by Andriolo de Santi. The Musei Civici agli Eremitani (Civic Museum) of Padua is now housed in the former Augustinian monastery to the left of the church.  The Scrovegni Chapel is famed for its brilliant frescoes by Giotto, painted between 1303 and 1305.

Also on this day: 

1544: The birth of poet Torquato Tasso

1669: Mount Etna’s biggest eruption

1847: The birth of politician Sidney Sonnino

1851: Premiere of Verdi opera Rigoletto

1924: The birth of psychiatrist Franco Basaglia

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Giovanni Paolo Cavagna – artist

Prolific painter left a rich legacy of religious canvases

Frescoes by Cavagna illuminate the dome of the
Basilica of Santa Maria Maggiore in Bergamo

Late Renaissance painter Giovanni Paolo Cavagna, who became famous for his religious scenes, died on this day in 1627 in his native city of Bergamo.

Cavagna was mainly active in Bergamo and Brescia, another historic city in the Lombardy region, for most of his career, although he is believed to have spent some time training in Venice in the studio of Titian.

The artist was born in Borgo di San Leonardo in Bergamo’s Città Bassa in about 1550. The painter Cristoforo Baschenis Il Vecchio is believed to have taken him as an apprentice from the age of 12. Cavagna is also thought to have spent time as a pupil of the famous Bergamo portrait painter Giovanni Battista Moroni.

Cavagna’s work can still be seen in many churches in Bergamo and villages in the surrounding area. In the Basilica of Santa Maria Maggiore in Bergamo’s Città Alta there are paintings by him of the Assumption of the Virgin, the Nativity, and Esther and Ahasuerus.

The church of Santo Spirito
in Bergamo's Città Bassa

In the Church of Santo Spirito in Bergamo’s Città Bassa, there are his paintings of Santa Lucia and the Crucifixion with Saints. He painted a Coronation of the Virgin for the Church of San Giovanni Battista in the province of Casnigo, which is to the north east of Bergamo, and some of his paintings can also be seen in the sanctuary of the Madonna del Castello in Almenno San Salvatore, a province to the north west of Bergamo.

The artist also completed a painting of the Crucifixion for the Church of Santa Lucia in Venice.

Cavagna’s son, Francesco, who became known as Cavagnuola, and his daughter, Caterina, also became painters.

After his death in 1627, Cavagna was buried in the Church of Santa Maria Immacolata delle Grazie in the Città Bassa in Bergamo, but after the reorganization of the lower town in the 19th century, the church was rebuilt and Cavagna’s tomb had to be moved, and it is now uncertain what happened to it.

Piazza Pontida is in Bergamo's Borgo San
Leonardo quarter in the Città Bassa

Travel tip:

Borgo San Leonardo, where Cavagna was born and lived, is a historic part of Bergamo’s Città Bassa where the Church of San Leonardo fronts an attractive square, Piazza Pontida, which links the important thoroughfares of Via Sant’Alessandro and Via XX Settembre. Piazza Pontida is part of an area that was known for centuries as Cinque Vie (five roads), where traffic from Milan, Lecco, Treviglio and Crema would converge and goods arriving in Bergamo would be unloaded. Some of the porticos in the piazza date back to the 15th century, when the farmers and merchants of the time would shelter from the sun under them.

The Via Arena entrance to the
Basilica di Santa Maria Maggiore

Travel tip:

Some of Cavagna’s paintings can be seen in one of the most important and beautiful churches in Bergamo, the Basilica di Santa Maria Maggiore, which has entrances from both Piazza Duomo and Via Arena in the Città Alta. The basilica was built in the 12th century in the shape of a Greek cross but was modified in the 14th and 16th centuries. It has a large interior with a richly decorated cupola from the 16th century and some fine Flemish and Florentine tapestries and works of art. At the back of the church is an elaborate white marble monument designed by Vincenzo Vela, marking the tomb of opera composer Gaetano Donizetti, who was born in Bergamo and came back to die in the city.

Also on this day:

1470: The birth of poet Pietro Bembo

1537: The birth of anatomist Hieronymous Fabricius

1916: The birth of athlete Ondina Valla

1943: The birth of singer Al Bano

1967: The birth of film director Gabriele Muccino

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Gino Severini - painter and mosaicist

Tuscan was leading figure in Futurist movement

Gino Severini, typically sporting a monacle, was
an influential figure in 20th century Italian art 

The painter and mosaicist Gino Severini, who was an important figure in the Italian Futurist movement in the early 20th century and is regarded as  one of the most progressive of all 20th century Italian artists, was born on this day in 1883 in the hilltop town of Cortona in Tuscany.

He divided his time largely between Rome and Paris, where he died in 1966. Although he was a signatory - along with Umberto Boccioni, Carlo Carrà, Luigi Russolo and Giacomo Balla - of Filippo Tommaso Marinetti’s Manifesto of Futurist Painters in 1910, his work was not altogether typical of the movement.  

Indeed, ultimately he rejected Futurism, moving on to Cubism, having become friends with Cubist painters Georges Braque and Pablo Picasso in Paris, before ultimately turning his interest to Neo-Classicism and the Return to Order movement that followed the First World War. 

He attracted criticism among his peers by his associations with the Fascist-supporting Novecento Italiano movement, whose work became closely linked with state propaganda. Severini was involved with Benito Mussolini's "Third Rome" project, supplying murals and mosaics for Fascist architectural structures inspired by imperial Rome. 

Working in mosaics became an increasing focus for Severini in his later years, particularly after he rediscovered his Catholic faith. His religious mosaics displayed such refined technique he was dubbed the “father of modern mosaics". 

Severini was also the author of many essays and several books on painting, including Du cubism au classicisme (From Cubism to Classicism) in 1921 and The Life of a Painter, a vivid account of his early career. 

Severini's Le Boulevard (1913), his Futurist 
interpretation of Parisian street life

Born into a family of modest means in Cortona, where his father a junior court official and his mother a dressmaker, Severini studied at the Scuola Tecnica in Cortona until the age of 15, at which point his formal education ceased when he and other classmates were caught trying to steal exam papers. They were expelled and probably lucky to escape prison. 

In 1899, his mother took him to Rome, thinking his prospects would be better there. He gained employment as a shipping clerk. He painted in his spare time and, thanks to the patronage of a fellow Cortonese with whom he had become friends, was able to attend art classes at the Rome Fine Arts Institute, studying nudes. He was not a disciplined student, however, and found himself cut adrift when his frustrated patron cancelled his allowance. 

Left to fend for himself when his mother returned to Cortona, Severini was so poor he lived in a room that was essentially a store cupboard in a kitchen in Via Sardegna in Ostiense. In 1900 he met Umberto Boccioni and Giacomo Balla for the first time. Balla took him on as a student, introducing him to the technique of pointillism, a painting method where effects were created by dotting the canvas or other surface with contrasting colours according to the principles of optical science.  The technique would have a major influence on Severini's early work and on Futurist painting in general.

Severini (right) with Luigi Russolo, Carlo Carrà, Filippo
Tommaso Marinetti and Umberto Boccioni in Paris in 1912

He moved to Paris in 1906 with Balla’s encouragement. Declaring the French capital to be his spiritual home, he settled in Montmartre, befriending another Italian, Amedeo Modigliani, and getting to know most of the city’s upcoming artists, including the Cubists Jean Metzinger, Albert Gleizes, Juan Gris and Picasso.

It was through Severini that some of the leading Italian Futurists visited Paris in 1911, absorbing some of Severini’s influence by adopting some of the humanist features of Cubism, namely the human figure in motion, as further means of expressing pictorial dynamism.  

Severini’s own Futurist work had been based on human figures, nightclub dancers or simply people in the street, rather than the cars or machines that had been central to the attempts of many of his fellow Futurist artists to depict speed and dynamism in painting.  In his nightclub scenes, he would evoke the sensations of movement and sound through rhythmic forms and flickering colours. His Dynamic Hieroglyph of the Bal Tabarin (1912) and The Boulevard (1913) were examples of his best work in Paris. 

However, Severini did produce some of the finest Futurist war art, notably his Red Cross Train Passing a Village (1914), Italian Lancers at a Gallop (1915) and Armoured Train (1915). 

His work over the next few years could be categorised as an idiosyncratic form of Cubism with elements of pointillism and Futurism before he began to experiment with a Neoclassical figurative style in portraits such as Maternity (1916). 

Severini's Mosaic of San Marco
in his hometown of Cortona

Severini had married in 1913, his bride Jeanne Paul Fort, the 16-year-old daughter of the French poet Paul Fort. The couple were desperately poor and when Severini succumbed to pleurisy soon after the wedding, they moved to live with his parents, by then living in Montepulciano, where Jeanne became pregnant. They moved back to Paris, where their daughter, Gina, was born. A second child, Tonio, died from pneumonia, which was a factor in reigniting Severini’s Catholicism, which he had earlier renounced.

Only between the wars did Severini begin to find financial stability, realised mainly through his commissions to create frescoes and mosaics. 

He produced mosaics for the Palazzo di Giustizia in Milan (1936), the Palazzo delle Poste in Alessandria (1936) and mosaics and frescoes at the University of Padua (1937).  He worked for the Mussolini regime at the Foro Italico, a multi-venue sports complex, and the Palazzo degli Uffici, the inaugural building of the EUR project. Severini’s association with the Fascists was roundly condemned within the international artistic community, although none of Severini’s work was overtly pro-Fascist. 

After the fall of Mussolini and the end of the Second World War, Severini received lucrative commissions to decorate the offices of the Italian airline companies KLM and Alitalia among other organisations. 

His Cubist-inspired Mosaic of San Marco (1961), which adorns the facade of the Church of San Marco in Cortona, is seen as a signature work. He died in Paris in 1966 at the age of 82 but was buried in Cortona.

Cortona's elevated position gives it commanding
views over the surrounding countryside

Travel tip:

Cortona, founded by the Etruscans, is one of the oldest cities in Tuscany. Its Etruscan Academy Museum displays a vast collection of bronze, ceramic and funerary items reflecting the town’s past. The museum also includes an archaeological park that includes city fortifications and stretches of Roman roads. Outside the museum, the houses in Via Janelli are some of the oldest houses still surviving in Italy. Powerful during the mediaeval period, Cortona was defeated by Naples in 1409 and then sold to Florence.  Characterised by its steep narrow streets, Cortona’s hilltop location - it has an elevation of 600 metres (2,000 ft) - offers sweeping views of the Valdichiana, including Lago Trasimeno, where Hannibal ambushed the Roman army in 217 BC during the Second Punic War.

The Piramide Cestia and Porta San Paolo are
two highlights of the Ostiense neighbourhood

Travel tip:

Severini’s earliest home in Rome was in the Ostiense neighbourhood, which can be found to the south of the Trastevere district. Bordered by the working class areas of Garbatella and Testaccio, Ostiense itself has shed its own down-at-heel reputation to become an increasingly trendy part of the city, populated by young professionals and boasting a thriving nightlife. The home of the majestic Basilica San Paolo Fuori le Mura - the Basilica of St Paul Outside the Walls - with its gold-plated ceilings, of the Roman  Piramide Cestia and the 3rd century Porta San Paolo, the district was built around the Via Ostiense, the ancient road linking the city with the Roman harbour at Ostia. 

Also on this day:

1763: The birth of musician Domenico Dragonetti

1794: The birth of opera singer Giovanni Battista Rubini

1906: Vesuvius erupts, killing more than 200 people

1973: The birth of footballer Marco Delvecchio

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Mario Berrino - painter

Artist who was also a popular entrepreneur 

Berrino captured many scenes from life on the
coast of Liguria in and near his home in Alassio

The painter and entrepreneur Mario Berrino was born on this day in 1920 in Alassio, the coastal town in Liguria where he spent almost all his life.

Berrino took up painting full time in his 50s and his simple yet atmospheric and evocative works became sought after by collectors, often selling for hundreds of euros at auction.

Alassio has a gallery dedicated entirely to his work, as does the jet set playground of Monte Carlo, about 100km (62 miles) along the riviera coastline to the west, not far from Italy’s border with France.

Before that, Berrino had lived a colourful life in and around his home town, his entrepreneurial spirit shining through in many projects that left a lasting impression on Alassio.

As a young man, he helped his father and brothers run a bar and restaurant in Alassio, the Caffè Roma, which earned fame in the years between the First and Second World Wars as a hang-out for writers, artists, and musicians, among them the American novelist Ernest Hemingway, who was a frequent visitor to Italy and became a close friend of Berrino.

It was when Hemingway was in Alassio in 1953 that Berrino hatched the idea of attaching brightly coloured tiles to the low wall of a public garden opposite the Caffè Roma bearing the signatures of artists who had visited the restaurant.

Il Muretto di Alassio, which Berrino created on a
wall outside the Caffè Roma, still attracts visitors

He asked a ceramicist to create some tiles and he and Hemingway crossed the road between the Caffè Roma and the garden one evening, using cement to attach the first three - one bearing Hemingway’s own signature and a second with the signature of a guitarist Cosimo de Ceciglie. The third carried all four signatures of a singing group, Il Quartetto Cetra.

The wall became known as Il Muretto di Alassio and remains a tourist attraction today, with close to 1,000 tiles, the criteria for inclusion expanded to include personalities from cinema, television, fashion, entertainment and sport.

In the same year as the wall came into being, Berrino launched a beauty contest, Miss Muretto, which was held every year until 2013. The winners include several women who have gone on to achieve a degree of fame, including the TV presenters Simona Ventura, Maria Teresa Ruta, Elisa Isoardi and Melissa Satta.

Berrino launched himself with enthusiasm into several other entrepreneurial ideas, cashing in on Alassion’s reputation for invigorating sea air by selling l’Aria Pura di Alassio in 500 litre jars, for which he received orders from all over Europe.

Berrino on the occasion of a 90th
birthday celebration in Alassio

He also successfully organised the Sciaccagiara, in which Formula One racing drivers including world champion James Hunt and the popular Swiss-Italian Clay Regazzoni, raced each other on steamrollers.

He was a popular figure in Alassio, usually seen driving his red Fiat Ghia 500 Jolly, a specially adapted Fiat 500 with a removable canopy top and wicker seats that was favoured by celebrities and VIPs ranging from the Greek shipping magnate Aristotle Onassis to Italian Communist leader Enrico Berlinguer.

Berrino set aside a wall of the Caffè Roma, called La buca del Muretto, to allow artists to exhibit, which was his inspiration to take up painting himself. Using watercolour, tempera, encaustic and oil techniques, he had become an established painter in the 1960s and from 1976 onwards devoted himself to painting full time.

Two years earlier, he had survived the ordeal of being kidnapped by a gang who demanded 300 million lire be paid for his release. Berrino managed to escape from captivity to the safety of a Carabinieri station.

Berrino remains a personality held in deep affection by the town of Alassio, who staged a celebration of his life on the 100th anniversary of his birth in 2020, nine years after his death in Alassio in August 2011.

A painting by Berrino that captures the beauty
of Alassio's location on the coast of Liguria

Travel tip:

Alassio is an attractive town on the Riviera di Ponente, the stretch of coastline that stretches southwest of the Ligurian capital of Genoa to the town of Ventimiglia, close to the French border. Renowned for its sandy beaches and blue seas, Alassio is popular for bathing in the summer and as a health resort in the winter.  It is a tourist-friendly town not least for having a narrow, pedestrianised street known as Il Budello which runs the length of the town just a few steps away from the beach. The English composer Edward Elgar is said to have written an overture while staying in Alassio during the winter of 1903-04, having been drawn to the area by its reputation for mild winters.  Read more...

The Caffè Roma remains a thriving
business in Alassio today

Travel tip:

The Caffè Roma, in Via Dante Alighieri, remains a thriving part of the life of Alassio, a symbolic monument to the town and its history as one of the resorts most favoured by writers, artists and musicians. The Muretto di Alassio remains a draw for visitors, who often spend many minutes trying to decipher the signatures on the ceramic tiles. The restaurant and cafe itself is housed in an attractive building in the Italian variant of Art Nouveau known as Stile Liberty.

Also on this day:

1929: The birth of motorcycle world champion Carlo Ubbiali

1955: The birth of Mafia ‘pentito’ Leonardo Messina

1958: The birth of tenor Andrea Bocelli

1979: The birth of writer Roberto Saviano

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Giovanni Domenico Tiepolo – painter and printmaker

Famous artist’s son developed his own style

Many of Tiepolo's works, such as this carnival scene
in Venice, featured the comic character Pulcinella

Giovanni Domenico Tiepolo, who became famous for his paintings of Venetian life and of the clown, Pulcinella, was born on this day in 1727 in Venice.

Also known as Giandomenico Tiepolo, he was one of the nine children born to the artist Giovanni Battista Tiepolo and his wife, Maria Guardi, the sister of painters Francesco and Giovanni Guardi.

Perhaps not surprisingly, Giandomenico inherited the talent to go into the same profession as his father and uncles and, by the age of 13, he had become the elder Tiepolo’s chief assistant. His younger brother, Lorenzo, also became a painter and worked as an assistant to his father.

By the age of 20, Giandomenico was already producing his own work for commissions. However, he continued to accompany his father when he received his major commissions in Italy, Germany and Spain.

He assisted his father with a grand stairwell fresco for a prince’s palace in Wurzburg in Bavaria in 1750 and with decorations for the Villa Valmarana ai Nani in Vicenza in 1757 and the Royal Palace of Madrid in 1770.

The elder Tiepolo died while in Madrid and after Giandomenico returned to live in Venice, his own style of painting began to develop. His portraits and scenes of life in Venice were realistic and characterised by movement and his use of colour. He drew inspiration for his paintings from the lives of both peasants and aristocrats.

One of the panels from the Via Crucis cycle,
in the Oratory of the Crucifix at San Polo

Giandomenico also received many commissions for drawings and reproduced his own and his father’s paintings as etchings.

He produced more than 100 separate sketches of Pulcinella, a physically deformed clown who was the standard character of commedia dell’arte in Venice and later became the Punch in Punch and Judy. The sketches were created as entertainment for children, but also poked fun at the pretensions and behaviour of the viewers of Pulcinella’s shows.

He accepted commissions for religious paintings also. Many can be seen in the Chiesa di San Polo in Venice, including the 14 panels of his Via Crucis cycle, which can be seen in the adjacent Oratory of the Crucifix.

Frescoes that Giandomenico painted for the Tiepolo family villa at Zianigo near Mirano were removed from the walls of the building at the beginning of the last century and nearly sold to a French buyer, but the export of the paintings was blocked by an Italian Government minister. They were subsequently acquired by the city of Venice and put on display at Ca’ Rezzonico on the Grand Canal, in a replica of their original arrangement at the villa.  

The paintings were executed between 1759 and 1797 solely for the entertainment of Giandomenico and his family. The ones featuring Pulcinella were the last to be painted and are perhaps the most famous of the cycle. Giandomenico was said to have been obsessed by the commedia dell’arte character during the last years of his life and is thought to have used him in his paintings as a vehicle to reflect his own irreverent and sarcastic spirit.

Giandomenico Tiepolo died in Venice in 1804, aged 76.

The Villa Valmarana ai Nani in Vincenza, where
Tiepolo and his father painted frescoes

Travel tip:  

Villa Valmarana ai Nani was built in 1669 near the gates of the city of Vicenza. The villa takes its name from the 17 stone sculptures of nani, dwarves, that once decorated the garden and have now been placed on the walls surrounding the villa. It is believed they were sculpted by Francesco Uliaco based on drawings by Giandomenico Tiepolo. The villa is famous for the frescoes by Giambattista and Giandomenico Tiepolo in the palazzina, owner’s residence, which were commissioned by Giustino Valmarana in 1757. The present day Valmarana family still live in the villa.

Frescoes by Giandomenico Tiepolo on display
at Ca' Rezzonico, the palace on the Grand Canal

Travel tip:

Ca’ Rezzonico on the Grand Canal in Venice, which now houses Giandomenico Tiepolo’s frescoes on its second floor, was built in the 16th century to a design by the architect Baldassare Longhena. Before the building was complete the architect died and the unfinished construction was later bought by Giambattista Rezzonico, who commissioned Giorgio Massari to complete it. In the 19th century it was purchased by Pen Browning, the painter son of the poet, Robert Browning. The poet died there during a visit in 1889. The frescoes removed from Giandomenico’s villa went on display in Ca ‘Rezzonico in 1936. The palace is also now home to the Museum of 18th Century Venice.

Also on this day:

1580: The death of Emanuele Filiberto, Duke of Savoy

1585: The death of Venetian composer Andrea Gabrieli

1860: The birth of New York crime fighter Joe Petrosino

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Giovanni Battista Gaulli – artist

Baroque painter decorated leading Jesuit church in Rome

Baroque painter Giovanni Battista Gaulli,
a self-portrait  painted in about 1667

Painter Giovanni Battista Gaulli, whose nickname was Baciccio, was born on this day in 1639 in Genoa.

He became a leading baroque painter whose work was influenced by the sculptor and architect Gian Lorenzo Bernini. He is most remembered for his beautiful frescoes in the Church of Gesù in Rome, which are considered a masterpiece of quadratura, or architectural illusionism.

Gaulli was born in Genoa and his parents died when he was just a teenager in an outbreak of plague in the city.

He was apprenticed with the painter Luciano Borzone but would also have been influenced by some of the foreign artists who were working in Genoa in the mid 17th century.

Peter Paul Rubens and Anthony van Dyck were in Genoa at the time but it is also said that Gaulli adopted the warm palette of Genoese artist Bernardo Strozzi.

Gaulli was introduced to Bernini, who recognised his talent and helped to promote him. In 1662 he was accepted into the Roman artists’ guild, the Accademia di San Luca.

The following year Gaulli received his first public commission, for an altarpiece in the Church of San Rocco in Rome.

Gaulli's masterpiece, the Triumph of the
Name of Jesus, in the Church of the Gesù

At the height of his popularity, Gaulli was also one of Rome’s most prestigious portrait painters.

But a visit to Parma in 1669, where he saw Correggio’s frescoed dome ceiling in the cathedral of Parma, had a profound influence on his style.

With the support of Bernini, the 22-year-old Gaulli was awarded the prestigious commission of decorating the interior of the large Jesuit church in Rome, the Church of the Gesù.

Gaulli decorated the entire dome, central vault, window recesses, and the ceilings of the transepts. He unveiled the main vault fresco on Christmas Eve 1679 and after this he continued the frescoing of the vaults of the tribune and other areas of the church. The work took him nearly 14 years.

Gaulli’s nave masterpiece, the Triumph of the Name of Jesus, is an allegory of the work of the Jesuits that envelops worshippers below into the whirlwind of devotion. It is one of the grandest baroque ceilings in Rome and the theatrical effect prompted art experts to label Gaulli as ‘a Bernini in paint’.

A series of ceilings like this were painted in the naves of other Roman churches until the beginning of the 18th century. But as the high baroque movement evolved into the rococo, the popularity of this style dwindled.

Gaulli also moved in the new direction, adopting less intense colours and more delicate compositions.

He had many pupils during his long career, who spoke of him as ‘generous, liberal of mind and charitable’.

Gaulli died in 1709 in Rome, at the age of 70.

The facade of the Palazzo Ducale (Doge's Palace) in Genoa.
one of the maritime city's architectural highlights

Travel tip:

Genoa, where Gaulli was born, is the capital city of Liguria and the sixth largest city in Italy. It has earned the nickname of La Superba because of its proud history as a major port. Part of the old town was inscribed on the World Heritage List in 2006 because of the wealth of beautiful 16th century palaces there.   Genoa has a rich history as a powerful trading centre with considerable wealth built on its shipyards and steelworks, but also boasts many fine buildings, many of which have been restored to their original splendour.  The Doge's Palace, the 16th century Royal Palace and the Romanesque-Renaissance style San Lorenzo Cathedral are just three examples. 

The baroque facade of the Church of the Gesù,
which Michelangelo offered to design for free

Travel tip:

The Church of the Gesù, which was built between 1568 and 1584 was the first Jesuit church in Rome and its design has been much imitated throughout the Catholic world.  Located in the Piazza del Gesù, it has the first truly baroque façade, which introduced the style into architecture. Gaulli’s ceiling fresco is considered the most striking feature of the interior decoration.  Although Michelangelo offered, out of devotion, to design the church for free, the endeavor was funded by Cardinal Alessandro Farnese, grandson of Pope Paul III, and the main architects involved in the construction were Giacomo Barozzi da Vignola, architect of the Farnese family, and Giacomo della Porta.

Also on this day:

1587: The birth of Victor Amadeus I of Savoy

1898: Genoa become the first football champions of Italy

1960: The birth of AC Milan and Italy icon Franco Baresi


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Corrado Cagli - painter

Jewish artist who fought in World War II as a US soldier

Corrado Cagli, pictured in his studio in Rome
in around 1969

The painter Corrado Cagli, one of the outstanding figures in the New Roman school that emerged in the early part of the 20th century, was born in Ancona on this day in 1910. 

He moved with his family to Rome in 1915 at the age of five and by the age of 17 had created his first significant work, a mural painted on a building in Via Sistina, the street that links Piazza Barberini with the Spanish Steps in the historic centre of the city.

The following year he painted another mural inside a palazzo on the Via del Vantaggio, not far from Piazza del Popolo.  In 1932, he held his first personal exhibition at Rome’s Galleria d’Arte Moderna.

At this stage, despite being both Jewish and gay, Cagli had the support of the Fascist government, who commissioned him and others to produce mosaics and murals for public buildings.

Although he would go on to experiment in neo-Cubist style and metaphysical styles, the aim of the Scuola Romana he sought to establish with fellow artists such as Giuseppe Capogrossi and Emanuele Cavalli was to reaffirm the principles of classical and Renaissance art.

However, in 1938, when the Fascist dictator Benito Mussolini stepped up his persecution of Jews and other minorities, Cagli sought refuge in Paris and later fled to New York.

A detail from Cagli's 1936 painting, The Battle of San Martino,
the final battle of the Second Italian War of Independence

Not knowing when or if he might return to Italy, Cagli became an American  citizen, even enlisting in the US Army. He went back to Europe as a soldier, taking part in the 1944 Normandy landings and seeing frontline combat fought in Belgium and Germany.

In fact, in an episode in his tour of duty that would have a profound effect on his life, he was part of a battalion that liberated Jewish prisoners from the Buchenwald concentration camp, near Weimar, in 1945. While he was there, Cagli made a series of dramatic drawings.

In 1948, Cagli finally returned to Rome to take up permanent residence again. At that time, he began to experiment in various abstract and non-figurative techniques, including metaphysical and neo-Cubist.

The recipient in 1946 of a Guggenheim award, in 1954 he was recognised with a Marzotto award, made by the Marzotto fashion company in Valdagno, in the Veneto between 1951 and 1968 to artists and thinkers who contributed to the cultural rebirth of Italy after the war.

In later life, he was the official banner painter for the Palio di Siena, the twice-yearly horse race around Siena’s Piazza del Campo, for which he had a particular fascination.

Corrado’s younger sister, Ebe, was a writer who also moved to the United States to escape Mussolini’s race laws.  She married an academic, Abraham Seidenberg, and did not return to Italy.

Cagli died in Rome in 1976.

Ancona's Cathedral of San Ciriaco, which occupies an
elevated position on the site of a former acropolis

Travel tip:

Ancona, where Cagli lived until he was five years old, is a bustling port with a population of almost 102,000, situated on the Adriatic coast in the Marche region. Although the area around the port has an industrial feel, there are some notable beaches nearby of which the Passetto is the best known.  There is a good deal of history in the older part of the city,  some of it bearing witness to its Greek and Roman past, as well as the Cathedral of San Ciriaco, which has mixed Romanesque-Byzantine and Gothic elements, and stands on a hill on the site of the former acropolis of the Greek city.  The 18m-high Arch of Trajan, built in honour of the emperor who built the city’s harbour, is regarded as one of the finest Roman monuments in the Marche region. The harbour contains the Lazzaretto, a pentagonal building constructed on an artificial island in the 18th century as a quarantine station designed to protect the city from diseases carried by infected travellers.

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Siena's beautiful Piazza del Campo, where the Palio di Siena
horse race is staged on tow dates every summer

Travel tip:

The shell-shaped Piazza del Campo, established in the 13th century as an open marketplace on a sloping site between the three communities that eventually merged to form Siena, is regarded as one of Europe's finest medieval squares, looked over by the Palazzo Pubblico and the Torre del Mangia.  The red brick paving, fanning out from the centre in nine sections, was put down in 1349.  The Palio, which features 10 horses, each representing one of Siena's 17 contrade, or wards, ridden bareback by riders wearing the colours of the contrada they represent, was first contested in 1656 and is now staged on July 2 and August 16 each year.

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More reading:

The Futurist painter who captured light, movement and speed

Painter whose early death robbed Italy of a great talent

The founder of the scuola metafisica movement

Also on this day:

1507: The death of Renaissance painter Gentile Bellini

1806: The birth of military general Manfredo Fanti

1821: The death of English Romantic poet John Keats

1822: The birth of archaeologist Giovanni Battista de Rossi

1834: The birth of Sicilian banker Emanuele Notarbartolo

(Painting: The Battle of San Martino (1936), Uffizi, Florence)

(Picture credit: Piazza del Campo by Ricardo André Frantz via Wikimedia Commons)

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Giacomo Balla - painter

Work captured light, movement and speed

Giacomo Balla's work Le mani del violinista - The Hands of
 the Violinist - stemmed from his fascination with movement

The painter Giacomo Balla, who was a key proponent of Futurism and was much admired for his depictions of light, movement and speed in his most famous works, was born on this day in 1871 in Turin.

An art teacher who influenced a number of Italy’s most important 20th century painters, Balla became interested in the Futurist movement after becoming a follower of the poet Filippo Tommaso Marinetti, who is regarded as the ideological founder of Futurism.

Futurism was an avant-garde artistic, social and political movement. Its ethos was to embrace modernity and free Italy from what was perceived as a stifling obsession with the past.

Balla was one of the signatories of Il manifesto dei pittori futuristi - the Manifesto of Futurist Painters - in 1910.

Giacomo Balla was one of the signatories
of the Manifesto of Futurist Painters 

He differed from some of the other artists who signed the Manifesto, painters such as Carlo Carrà and Umberto Boccioni, whose work tried to capture the power and energy of modern industrial machinery and the passion and violence of social change, in that his focus was primarily on exploring the dynamics of light and movement.

Giacomo Balla was the son of a seamstress and a waiter who was an amateur photographer. He lost his father at the age of nine, at which point he gave up an early interest in music and began working in a lithograph print shop. As he grew up, he decided to study painting and several of his early works were shown at exhibitions.

In 1895, after completing his academic studies at the University of Turin, Balla moved to Rome, where he married Elisa Marcucci and found work as an illustrator, caricaturist and portrait painter.  He also passed on his painting skills as a teacher.

After a period in Paris in 1900, where he spent seven months assisting the illustrator Serafino Macchiati, he became fascinated with French neo-impressionism and, on returning to Rome, he adopted the neo-impressionist style in his work.  Among his young students were Boccioni and Gino Severini, to whom he passed on his enthusiasm for contemporary French trends.

Balla's Dynamism of a Dog on a Leash
identified him as a Futurist painter

Influenced by Marinetti’s philosophy, Balla, Boccioni and Severini adopted the Futurism style. Balla was driven by the idea of creating a pictorial depiction of light, movement and speed.  Typical for his new style was his 1912 painting Dinamismo di un cane al guinzaglio - Dynamism of a Dog on a Leash - which is in the care of the Albright–Knox Art Gallery in Buffalo, New York.

Another notable work painted at around the same time is Le mani del violinista - The Hands of the Violinist - which depicts a musician's hand and the neck of a violin, blurred and duplicated to suggest the motion of frenetic playing.  The Hands of the Violinist is currently kept at the Estorick Collection of Modern Italian Art in Islington, north London.

If the theme of those two paintings was movement, Balla’s interest in breaking down the elements of light is exemplified in two other famous works.

Balla's extraordinary 1909 painting
Street Light (Lampada ad arco)

Street Light (Lampada ad arco), painted in 1909, which vividly depicts the glow of modern street lighting, can be seen in the Museum of Modern Art in New York City, while his 1914 work Mercury Passing Before the Sun (Mercurio transita davanti al sole), an almost kaleidoscopic representation of the planet and the sun seen through a telescope, is on long-term loan to the Peggy Guggenheim Collection in Venice.

In 1914, Balla branched out into designing Futurist furniture and even the so-called Futurist antineutral clothing. He also received some commissions as a sculptor.  His studio became a meeting place for young artists.

In 1935, he was made a member of Rome's Accademia di San Luca.  He died in Rome in March 1958, at the age of 86, and was buried at the Campo Verano cemetery.

The Basilica of San Lorenzo Fuori le Mura adjoins the
Cemetary of Campo Verano

Travel tip:

The Cimitero Comunale Monumentale Campo Verano, where Balla is interred, is situated beside the Basilica of San Lorenzo Fuori le Mura, in the Tiburtino area of Rome. It is the city's largest cemetery, with some five million internments. The name 'Verano' is thought to date back to the Roman era, when the area was known as Campo dei Verani.

The Via Po in Turin, pictured here in 1930 is at
the heart of the city's café culture

Travel tip:

The city of Turin, once the capital of Italy and traditionally seat of the Savoy dynasty, is best known for its royal palaces but tends to be overlooked by visitors to Italy, especially new ones, who flock first to Rome, Florence, Venice and Milan. Yet as an elegant, stylish and sophisticated city, Turin has much to commend it, from its many historic cafés to 12 miles of arcaded streets and some of the finest restaurants in Piedmont. To enjoy Turin’s café culture, head for Via Po, Turin’s famous promenade linking Piazza Vittorio Veneto with Piazza Castello, or nearby Piazza San Carlo, one of the city’s main squares. In the 19th century, these cafès were popular with writers, artists, philosophers, musicians and politicians among others, who would meet to discuss the affairs of the day.

More reading:

Umberto Boccioni, the brilliant talent who died tragically young

How the funeral of an anarchist inspired Carlo Carrà

The 'noise music' of Futurist Luigi Russolo

Also on this day:

1610: The mysterious death of Caravaggio

1884: The birth of Alberto di Jorio, shrewd head of the Vatican Bank

1914: The birth of Gino Bartali, cycling champion and secret war hero


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