GRAAAFICAAA ITAAALIANAAA

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a Futurist attack on The Past in which he deployed a poet’s

weapons of spelling and typography, with ADOLFO DE

CAROLIS’S Symbolist woodcuts in Gabriele D’Annunzio’s

wartime meditation, Notturno (1922), a volume that evokes the

highest Renaissance traditions of book design and printing.

The astonishing focus of attention and minute cross-hatching

in GIORGIO MORANDI’S etching of a still life seems worlds

away from MICHELANGELO PISTOLETTO’S photo-

screenprint of a parrot on polished stainless steel. From LINO

PIRONE’S Pop-inspired, torn newspaper to FRANCESCO

CLEMENTE’S gigantic, multi-sheet hand-drawn lithographs

of world archetypes, GRAAAFICAAA ITAAALIANAAA shows

how 20th-century Italian artists made drawings and prints and

manipulated paper in the most amazing ways. Although the

works in the exhibition can be seen as representative of styles

and movements in which Italian artists participated, they must

also be understood as products of an anguished century.

ike bullets sprayed from an automatic rifle, the

type-metal letterforms of Marinetti’s Les Mots en

Liberté Futuristes punctured the traditional notion

of the book as orderly ranks of text on

gathered pages. In his war on nostalgia, history,

and museums, Marinetti assaulted European culture with

hisses of sound and shards of type. The Italian Futurist leader

believed that war was necessary to smash the decadent old

order and sweep it away. In his manifestos, fliers, and books

written in Italian and French, Marinetti hurled insults at a rotten

and decadent society. He hailed a new age of machines,

speed, electricity, and flight. Deploying onomatopoeic

words on fold-out, printed pages in ways seen only in pre-

revolutionary Russia (Marinetti, in person, inspired the Russian

avant-garde artists Goncharova, Kruchenykh, and Rozanova,

who made books there), he and his companions transformed

the noises of modern life and the First World War into visually-

dynamic pictorial elements. Today, Futurism’s century-old

fusion of content, outrage, abstract word-images, and the

print medium still looks edgy.

Could the energy and vision of Futurist Words in Liberty

sustain itself long after the First World War? During the first

four decades of the century, Futurism—as an attitude and

his exhibition features a selection of 20th-century

Italian prints, photographs, books, and drawings

from the Art Center’s permanent collections and

from private collections. These 35 works illustrate

the competing interests of Italian art during the last

century. Stretching out the words grafica italiana (“Italian

graphics”), the exhibition’s playful title was inspired by Italian

Futurist experiments with spelling and typography.

GRAAAFICAAA ITAAALIANAAA explores

20th-century Italy’s contributions to — and its ambivalence

about —art on paper. Although drawing lies at the heart of an

Italian artist’s training, nonetheless, in Italy’s traditional sense

of a hierarchy of the arts, prints and drawings rank lower than

painting, sculpture, and architecture. The exhibition compares

FILIPPO MARINETTI’S Les Mots en Liberté Futuristes (1919),

GRAAAFICAAA ITAAALIANAAAJANUARY 22 – MAY 29, 2016

2

23 FILIPPO MARINETTI (cover and fold out page)

3

set of artistic styles—helped drive the development

of Modernism in Italy as well as in Russia, Germany,

France, and Britain. But as a way of life, Futurism evolved

in unexpected ways. For Italy, the cleansing war that

Marinetti longed for evolved into a pointless tragedy of

the highest order. After the war, Italians’ disillusionment

led to the rise of Fascism and gave birth to the conflicts

between adherents of the Right, the Left, Anarchists, and

Secessionists that continue to bedevil Italy to this day.

ome of the works in the exhibition entered the

Art Center’s collections by purchase (the Morandi

etching in 1985 and the Marinetti book in 2015),

but many of these works were given to the

Art Center during the 1950s. Since the time

of accessioning, they have rarely, if ever, been shown.

Although these 35 works do not constitute a comprehensive

presentation of 20th-century Italian prints and drawings, as

there are vexing gaps, this selection does offer the opportunity

for us to become familiar with the work of a number of

lesser-known artists and gain new understandings about

mid-20th-century Italian art. It prods us to continue collecting

S

Aand Cucchi). Italians also were affiliated with international

movements such as Fauvism and Cubism (Brancaccio,

Scialoja, and Scordia); Expressionism (Mušic); Surrealism

(Crippa, Licata); Bauhaus (Sissa); Art Brut (Baj); Pop Art

(Pirone); and Minimalism (Arnaldo Pomodoro). Some Italian

artists working during and after the long ordeal of Fascism and

World War II developed deliberately anti-heroic, un-beautiful,

and un-craftsman-like ways of working. Their works explore the

private world of the studio (Morandi and Guccione) rather than

the shared spaces and events of the public realm.

The exhibition includes an ample array of subject matter:

the human figure, animals, urban scenes, and landscapes,

still life, language-based imagery, fantasy, and geometric and

non-objective abstraction. Many of these images project the

artists’ profound sense of place and of history, in which Italians

are irrevocably immersed (Bellandi, Dolcetti, Gentilini, Mušic,

and Sene).

In Italian culture, a chasm still exists between those

who theorize or design and those who practice or get their

hands dirty. Still, most of the artists in this exhibition worked

in a variety of media. They were painters (Campigli, Cantatore,

Clemente, Guccione, Morandi, Mušic, Scialoja); sculptors

(Boni, Marini, Pistoletto, Pomodoro); architects, engineers, and

designers (Pomodoro, Sissa); scenographers (Crippa, Scordia);

and a photographer (Finocchiaro). Some worked in ceramics

(Gentilini), glass and mosaic (Licata), and robotics (Carosone).

Many of the artists in this exhibition studied at one

or more of the Italian state preparatory and professional art

institutions and prestigious academies of fine arts (known as an

Accademia di Belle Arti ). Several of these artists held teaching

positions (Brancaccio, Crippa, Marini, Morandi, and Scialoja).

Others trained as architects and civil engineers (Clemente and

Sissa), while some underwent technical training in a family

workshop (Pistoletto).

Inspired by experimental Modernist printmaker Stanley

William Hayter’s collaborative, experimental Atelier 17 in Paris

and by his “new ways of gravure,” during the 1960s,

some Italian artists rejected printmaking as taught in the

tradition-bound Accademia system (Dolcetti, Licata, Pirone,

and Sene). Forming left-leaning collaborative groups, such as

the Centro Internazionale di Grafica, the Atelier Aperto, and

the Scuola Internazionale di Grafica di Venezia, they

experimented with contemporary printmaking techniques,

in this area.1 Finally, this exhibition serves as a reminder of

the Des Moines Art Center’s groundbreaking contribution

to 20th-century Italian art history. In 1981 the Art Center

organized the first retrospective exhibition held in the

United States of the paintings, etchings, drawings, and

watercolors of Giorgio Morandi.2

rtists represented in GRAAAFICAAA

ITAAALIANAAA come from all over the Italian

peninsula: Emilia-Romagna, Liguria, Lombardia,

Piemonte and Veneto in the North; from

Lazio, Marche, Tuscany, and Umbria in

Central Italy; from Calabria and Puglia in the South; and from

Sicily. Most of the artists worked in Bologna, Florence, Milan,

Rome, and Venice, but others pursued their careers abroad.

Artists include ENRICO BAJ (Milan); ROMOLA

BELLANDI (Florence); PAOLO BONI (Florence, Rome, Venice,

and Paris); GIOVANNI BRANCACCIO (Naples); MASSIMO

CAMPIGLI (Berlin, Florence, Milan, and Paris); DOMENICO

CANTATORE (Rome, Paris, Milan); PAOLO CAROSONE

(Rome, Amsterdam, Copenhagen, Tokyo, New York, and

Los Angeles); FRANCESCO CLEMENTE (Naples, New York,

and Madras); LUCA CRIPPA (Monza and Milan); ENZO

CUCCHI (Ancona and Rome); Adolfo DE CAROLIS (Ascoli

Piceno, Florence, and Rome); MATILDE DOLCETTI (Venice

and Rome); MARIO FINOCCHIARO (Milan); FRANCO

GENTILINI (Faenza, Bologna, and Rome); PIERO GUCCIONE

(Catania and Rome); RICCARDO LICATA (Turin, Paris, and

Venice); FILIPPO MARINETTI (Milan and Paris); MARINO

MARINI (Pistoia, Florence, and Milan); GIORGIO MORANDI

(Bologna); ZORAN MUŠIC (Gorizia, Vienna, and Venice);

LINO PIRONE (La Spezia); MICHELANGELO PISTOLETTO

(Biella and Turin); ARNALDO POMODORO (Pesaro and Milan);

TOTI SCIALOJA (Rome); ANTONIO SCORDIA (Argentina,

Rome, and Paris); NICOLA SENE (Venice); and UGO SISSA

(Mantua, Rome, Ivrea, Baghdad, and Venice).

The various Italian-originated Modernist movements

in which these artists participated include Stile Liberty

(De Carolis); Futurism (Marinetti); Arte Metafisica and Valori

Plastici (Morandi and Campigli); Neo-Realismo (Finocchiaro);

Arte Povera (Pistoletto); and Transavanguardia (Clemente

4

5

10 FRANCESCO CLEMENTE

9 FRANCESCO CLEMENTE

2 ROMOLA BELLANDI 3 ROMOLA BELLANDI 4 PAOLO BONI

5 GIOVANNI BRANCACCIO 6 MASSIMO CAMPIGLI 7 DOMENICO CANTATORE 8 PAOLO CAROSONE

6

11 LUCA CRIPPA 12 LUCA CRIPPA

13 ENZO CUCCHI 15 MATILDE DOLCETTI

16 MARIO FINOCCHIARO

17 MARIO FINOCCHIARO 18 MARIO FINOCCHIARO

20 FRANCO GENTILINI 21 PIETRO GUCCIONE19 FRANCO GENTILINI

7

26 GIORGIO MORANDI

27 ZORAN MUŠICČ

28 ZORAN MUŠICČ 30 MICHELANGELO PISTOLETTO 31 ARNALDO POMODORO

32 TOTI SCIALOJA 33 ANTONIO SCORDIA 34 NICOLA SENE

22 RICCARDO LICATA 25 MARINO MARINI 24 MARINO MARINI

well as a screenprint on stainless steel (Pistoletto). Campigli’s

white-mixed colors and scratched lines evoke the paleness

and textures of fresco.

Since the 1950s, Italian artists, designers, and

entrepreneurs have exerted unparalleled creative influence

on international styles and lifestyles in the areas of fashion,

architecture, furniture (Sissa), cars, food, and cinema.

Finocchiaro helped forge the look of post-war, black-and-white,

Neo-Realist photography with his human-centered sense of

place. Trieste-born, New York-based art dealer Leo Castelli,

publisher of four of the prints from the 1950s in this exhibition

(5, 19, 20, and 32), would later come to play a central role in

promoting contemporary artists, shaping the history of

post-war modern art.

using modern materials such as plastics, cardboard, and glues.

They welcomed artists from around the world to work with them

and infuse new life into Italian printmaking.

Many made prints in collaboration with edition printers.

Their editioned works were issued by print publishers

(Leo Castelli, New York; Edizioni Multipli, Turin; Mourlot, Paris;

Petersburg Press, New York and London). While de Carolis’s

woodcut book and Morandi’s etching reveal their makers’

highest mastery of their media, prints by Baj, Boni, Carosone,

and Pistoletto push against the boundaries of traditional

printmaking. Italian artists seem particularly alert to surface

qualities and materiality of paper, prints, and drawings. Works in

the exhibition include adhesions and textures (Baj, Guccione),

the use of handmade papers (Dolcetti, Sene, and Licata), as

8

35 UGO SISSA

talian 20th-century art reflects the historical complexities

of a country unified only since the 1860s. Its challenges

include merging many former independent states and

regions into a single country; the transition from

monarchy to Fascist dictatorship, and from colonial

power to post-war republic; its peoples’ ambiguous sense

of identity as members of a nation instead of their local and

regional identities; the gradual domination of a national language

(“Tuscan,” now known as “Italian”) over local languages and

dialects; the ongoing resentments between Fascists and

Communists, and between the modern political parties into

which they have evolved; the role of corruption in public

governance and the way corruption saps economic productivity;

the conflicts between North and South and between those who

wish to secede; and Italians’ ambivalence about belonging to

Europe. All of the artists in this exhibition trained and worked in

this fraught cultural and political environment.

To be an artist in this country—with its staggering

heritage of creativity—artists must cautiously navigate through

a minefield of competing stylistic traditions and political forces.

With the central role of the human figure, ideal forms,

proportions, and canons of beauty, Classicism is the default

mode of Italian art. In this exhibition, De Carolis’s woodcuts for

D’Annunzio’s Notturno are splendid examples of early Modernist

Classicism. But for most modern Italian artists, Classical

9

forms, images, and symbols contain an enormous weight of

problematic cultural baggage. In seeking to align itself with

ancient Imperial Roman glory as Christianity did at the time

of Constantine, or the Papacy did during the Renaissance,

Fascism clothed itself in a bombastic yet modernized version

of Classicism. Yet, unlike Nazi Germany’s rejection of Modern

art and persecution of “degenerate” artists, Italian Fascism

embraced many modern styles. Born in tandem with Futurism,

the regime ultimately came to prefer order to disorder, but

little in the way of art was forbidden. Anti-Fascists, however,

rejected Roman Imperial Classicism—which they saw as

tainted. After decades of Fascism, the Second World War,

the Resistance, and Liberation, post-war Italian art became

emphatically anti-monumental, anti-heroic, and highly personal.

If Italian artists desired to make art and interpret the

world by means of personal observation and feeling rather

than be guided by a set of ideal forms and rules, they had

to make choices. They either had to embrace the tradition in

which they were steeped, thoroughly re-invent it, rebel, work

outside the system, or leave the country. Many artists looked

to other ancient (but non-classical) sources of inspiration, such

as Egyptian, Etruscan, and Medieval art, as well as to children’s

and folk art. Dreams, Surrealism, and Magic Realism also

offered artists alternate visual languages with which they

could explore their subjective realities.

I1 ENRICO BAJ 14 ADOLFO DE CAROLIS

For an artist in 20th-century Italy, the making of art

could not be a passive activity devoid of political conviction.

During the 1930s, Marini showed in Fascist-organized

exhibitions. A few prominent artists managed to lie low,

avoiding the fray. During the Fascist era, Morandi withdrew into

the private world of his own studio, although he taught etching

at the Accademia di Belle Arti of Bologna. Produced in the

solitary, silent world of his studio, his black-and-white, densely

crosshatched etchings of dusty still-life arrangements, such

as the Large Still Life with Coffee Pot, 1933, continue to

inspire printmakers.

Italian artists, viewers, critics, and authorities alike

understood that an artist’s works reflected his or her overt

beliefs, principles, and ideologies. You were for democracy,

authoritarian rule, or anarchy; or you stood for religious faith or

rationality. Baj’s brightly colored screenprint with glitter, Passo

di Ballo, might seem to be an amusing Pop Art-like cartoon,

but it seethes with this Anarchist artist’s hatred of militarism.

Although styles and techniques are not guaranteed

predictors of political affiliation, if you are an artist in Italy

today, the master or professor with whom you studied, where

and with whom you make art, your galleries, your exhibition

venues, and your inclusion in Biennals and Quadrennials, the

curators who select you, and the critics who write about you

are all clues to your alignment with a particular party or group.

A paradox of Modernism is that New quickly

becomes old. How could Marinetti’s hunger

for newness feed itself? After the Second

World War, with the guns silent and the

killing ceased, Futurism’s appetite for

destruction became transmuted into anger and regret. Futurism’s

images of flight and speed remained, but the airplanes that

dropped death from the clouds turned into the airline, Alitalia

(“wings of Italy”). Pomodoro’s 1970 print, with its propeller-like,

geometric forms, is crisp, stylish, and clean. With its ripped pieces

of newspaper (“words in freedom”) collaged into the shape of a

dove, Pirone’s 1984 Tras-volando owes as much to Pop Art

as it does to historic Futurism. Is not Tras-volando the very

descendent of Marinetti’s Les Mots en Liberté Futuristes?

In this image symbolizing the unceasing cycles of war and peace,

a newspaper headline declares, “Polemics divide pacifists.”

By that Orwellian year, Futurism was old news.

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29 LINO PIRONE

23 FILIPPO MARINETTI

A1 Other notable 20th-century Italian works in the permanent collections include Giorgio Morandi, Still Life,1959, oil on canvas; and Mario Merz, Untitled, 1989, sculpture of a monitor lizard and neon. Francesco Clemente’s 50 lithographs for Alberto Savinio’s The Departure of the Argonaut, 1986, was the subject of a Print Gallery exhibition in 2015. 2 Giorgio Morandi: San Francisco Museum of Modern Art, September 24–November 1, 1981; The Solomon R. Guggenheim Museum, New York, November 19, 1981–January 17, 1982; Des Moines Art Center, February 1–March 14, 1982. The exhibition was organized by the Des Moines Art Center.

CHECKLISTArtists are listed in alphabetical order.

1 ENRICO BAJ (Italian, 1924–2003) Passo di Danza (Dance Step), 1977 Screenprint with glitter on paper Des Moines Art Center Permanent Collections; Gift of Anna K. Meredith, 1978.26

2 ROMOLA BELLANDI (Italian, born 1929) Campo della Maddalena (In front of the Church of the Magdalen, Venice), ca. 1980 Soft ground etching and aquatint on paper Loaned by the Centro Internazionale di Grafica di Venezia

3 ROMOLA BELLANDI (Italian, born 1929) Fiori Bianchi (White Flowers), ca. 1980 Soft ground etching and aquatint on paper Loaned by the Centro Internazionale di Grafica di Venezia

4 PAOLO BONI (Italian, born 1928) À Ciel Ouvert (In the Open Sky), 1962 Graphic sculpture on paper Des Moines Art Center Permanent Collections; Purchased with funds from Rose F. Rosenfield, 1964.63

5 GIOVANNI BRANCACCIO (Italian, 1903–1975) Masquerade, ca. 1950 Color lithograph on paper Des Moines Art Center Permanent Collections; Gift of Mr. and Mrs. John Cowles, Jr., 1957.39

6 MASSIMO CAMPIGLI (Italian, 1895–1971) Les Promeneuses (Women Taking a Walk), 1957 Lithograph on paper Des Moines Art Center Permanent Collections; Gift of Wells Fargo & Company, 2003.246

7 DOMENICO CANTATORE (Italian, 1906–1998) Donna Sdraiata (Woman Reclining), ca.1950 Color lithograph on paper Des Moines Art Center Permanent Collections; Gift of Mr. and Mrs. John Cowles, Jr., 1957.41

8 PAOLO CAROSONE (Italian, born 1941) Memorie del Capostazione (Memories of the Station Master), 1965 Intaglio on paper Des Moines Art Center Permanent Collections; Purchased with funds from Rose F. Rosenfield, 1965.45

9 FRANCESCO CLEMENTE (Italian, born 1952) Untitled A, 1986 Lithograph on paper Des Moines Art Center Permanent Collections; Gift of Petersburg Press, Inc., to the Des Moines Art Center in honor of Amy N. Worthen, Curator of Prints and Drawings, and the mounting of the exhibition of Francesco Clemente: The Departure of the Argonaut, 2015.33

10 FRANCESCO CLEMENTE (Italian, born 1952) Untitled B, 1986 Lithograph on paper Des Moines Art Center Permanent Collections; Gift of Petersburg Press, Inc., to the Des Moines Art Center in honor of Amy N. Worthen, Curator of Prints and Drawings, and the mounting of the exhibition of Francesco Clemente: The Departure of the Argonaut, 2015.34

11 LUCA CRIPPA (Italian, 1924–2002) Gli oracoli di Uriolario (The Oracles of Uriolario), ca. 1980 Etching on paper Loaned by the Centro Internazionale di Grafica di Venezia

12 LUCA CRIPPA (Italian, 1924–2002) Personaggi alla ricerca di un’ armonia nella confusione (Personages Seeking Harmony in Confusion), ca. 1980 Etching on paper Loaned by the Centro Internazionale di Grafica di Venezia

13 ENZO CUCCHI (Italian, born 1950) La Guerra delle Montagne (War in the Mountains), 1981 Etching and aquatint on paper Des Moines Art Center Permanent Collections; Gift of Patricia and Robert M. Donhowe, 2005.18

14 ADOLFO DE CAROLIS (Italian 1874–1928) Cover of Gabriele d’Annunzio, Notturno (Milano: Fratelli Treves, 1921–22) Bound book with typographic text and 11 woodcuts by Adolfo de Carolis on paper Private Collection

15 MATILDE DOLCETTI (Italian, born 1936) Untitled (Palaces along the Grand Canal, Venice), ca. 1987 Etching and aquatint on paper Loaned by the Centro Internazionale di Grafica di Venezia

16 MARIO FINOCCHIARO (Italian, 1920 –1999) Young People Gathered in Street, One Yelling, ca. 1955 Vintage silver gelatin print Des Moines Art Center Permanent Collections; Gift of Jeff Perry in honor of Myron and Jacqueline Blank, 2009.116

17 MARIO FINOCCHIARO (Italian, 1920 –1999) Farmer Standing in Field of Harvested Garlic, ca. 1955 Vintage silver gelatin print Des Moines Art Center Permanent Collections; Gift of Jeff Perry in honor of Myron and Jacqueline Blank, 2009.117

18 MARIO FINOCCHIARO (Italian, 1920–1999) Via S.C. Formenti/Milano, from “Gente & Vicoli” (People & Narrow Streets), 1977 Vintage silver gelatin print Des Moines Art Center Permanent Collections; Gift of Jeff Perry in honor of Myron and Jacqueline Blank, 2009.118

19 FRANCO GENTILINI (Italian, 1909 –1981) Natura Morta (Still Life), ca. 1957 Lithograph on paper Des Moines Art Center Permanent Collections; Gift of Stephen R. Currier, 1958.45

20 FRANCO GENTILINI (Italian, 1909–1981) La Cattedrale con Suonatore di Tromba (Cathedral with Horn Player), ca. 1954 Color lithograph on paper Des Moines Art Center Permanent Collections; Gift of Stephen Currier, 1958.47

21 PIETRO GUCCIONE (Italian, born 1935) Study No. 4 for the “Life and Death of the Hibiscus,” 1980 Pastel on paper with cloth adhesions Des Moines Art Center Permanent Collections; Purchased with Director’s Discretionary Funds from the John J. Brady Foundation, 1980.26

22 RICCARDO LICATA (Italian, 1929–2014) Senza Titolo (Untitled), 1982 Color etching on paper Loaned by the Centro Internazionale di Grafica di Venezia

23 FILIPPO MARINETTI (Italian, 1876–1944) Les Mots en Liberté Futuristes (Futurist Words in Freedom), 1919 Typographic text printed in black and red (112 pages, including 4 fold-out pages) Des Moines Art Center Permanent Collections; Purchased with funds from the Director’s Initiative and the Fairall Trust, 2015.31

24 MARINO MARINI (Italian, 1901–1980) Cavallo e Cavaliere (Horse and Rider), ca. 1970 Ink and gouache on paper Des Moines Art Center Permanent Collections; Gift of David Kruidenier, Jr. Estate and Elizabeth S. Kruidenier 2002 Revocable Trust, 2012.34

25 MARINO MARINI (Italian, 1901–1980 Chevaux et Cavaliers IV (Horses and Riders IV), 1972 Color lithograph on paper Des Moines Art Center Permanent Collections; Gift of Keith Shaver in honor of Mary and Roy Shaver, 2012.63

26 GIORGIO MORANDI (Italian, 1890–1964) Grande Natura Morta con la Caffettiera (Large Still Life with Coffee Pot), 1933 Des Moines Art Center Permanent Collections; Gift of the friends of Peggy Patrick, 1986.3

27 ZORAN MUŠICČ (Italian, born Slovenia, 1909–2005) Paesaggio (Landscape), 1949 Etching on paper Des Moines Art Center Permanent Collections; Gift of Stephen R. Currier, 1958.42

28 ZORAN MUŠICČČ(Italian, born Slovenia, 1909–2005) Filets Bleus (Blue Threads), 1957 Color drypoint with aquatint on paper Des Moines Art Center Permanent Collections; Gift of Mr. and Mrs. John Cowles, Jr.

29 LINO PIRONE (Italian, 1936–1984) Tras-volando (Flying Across), 1983 Screenprint on paper Loaned by the Centro Internazionale di Grafica di Venezia

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30 MICHELANGELO PISTOLETTO (Italian, born 1933) Pappagallo (Parrot), 1971 Screenprint on stainless steel Des Moines Art Center Permanent Collections; Gift of David Kruidenier, Jr. Estate and Elizabeth S. Kruidenier 2002 Revocable Trust, 2012.35

31 ARNALDO POMODORO (Italian, born 1926) Untitled, 1970 Lithograph on paper Des Moines Art Center Permanent Collections; Gift of Wells Fargo & Company, 2003.293

32 TOTI SCIALOJA (Italian, 1914–1998) Ricordi di Caccia (Memories of the Hunt), 1955 Color lithograph on paper Des Moines Art Center Permanent Collections; Gift of Stephen R. Currier, 1958.50

33 ANTONIO SCORDIA (Italian, born Argentina, 1918–1988) Donna in Poltrona (Woman Seated in an Armchair), ca. 1957 Color lithograph on paper Des Moines Art Center Permanent Collections; Gift of Mr. and Mrs. John Cowles, Jr., 1957.40

34 NICOLA SENE (Italian, born 1939) Laguna (Lagoon), 1987 Lift-ground etching and drypoint on paper Loaned by the Centro Internazionale di Grafica di Venezia

35 UGO SISSA (Italian, 1913–1980) Untitled (Geometric Abstraction), 1972 Pastel on paper Loaned by Mr. and Mrs. William Friedman, Jr.

This gallery guide is published in conjunction with

GRAAAFICAAA ITAAALIANAAA

The exhibition is on view in the John Brady Print Gallery of the

Des Moines Art Center from January 22 to May 29, 2016.

Amy N. Worthen, Curator of Prints and Drawings,

organized the exhibition and wrote this publication.

LENDERS

Centro Internazionale di Grafica di Venezia

Mr. and Mrs. William Friedman, Jr.

Private Collection

EXHIBITION SUPPORT

Des Moines Art Center Print Club

© Des Moines Art Center

All rights reserved

4700 Grand Avenue

Des Moines, Iowa 50312

515.277.4405

www.desmoinesartcenter.org

PDFs of this publication and a sound file of an interview with the curator

about the exhibition may be downloaded from the Art Center’s website.

DESIGN

Connie Wilson Design

PHOTOGRAPHY

Rich Sanders, Des Moines, Iowa

COVER IMAGE Detail of page from Filippo Marinetti, Les Mots en Liberté Futuristes

EXHIBITION PROGRAM

GALLERY TALK

Amy N. Worthen

Curator of Prints and Drawings

Sunday, January 31, 2016 / 1:30 pm

John Brady Print Gallery

entirelyunexpectedPRINT CLUB