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| Galatea, 1925, bronze, Amleto Cataldi (1882-1930), during the exhibition GAM 100: Un secolo di Galleria comunale 1925-2025 |
With only a few hours to explore the Eternal City before a dinner date at Locanda Bucarelli on Via di San Giovanni in Laterano, I decided to visit the Galleria d’Arte Moderna to see Amleto Cataldi’s Galatea–Fontana.
I cannot quite explain why, but the sculpture has haunted my memory ever since I first encountered it sixteen years ago. All that time, I had longed to gaze upon her beauty again, and I was determined not to miss the opportunity.
To my great delight, I did not have to search for her. She was the first work of art I encountered upon entering the gallery, and every bit as beautiful as I remembered. I could have left then and considered the visit worthwhile, but I continued exploring and discovered much more.
Highlights included Ettore Tito’s Il Verno, Auguste Rodin’s Busto di Signora, Giuseppe De Nittis’s Paesaggio invernale, and Vincenzo Gemito's terracotta portrait of his wife, Anna. I was equally taken with Ettore Ximenes' Principessa Laetitia, Onorato Carlandi’s Agitazione, and Amedeo Bocchi’s Nel Parco.
Another unexpected encounter proved particularly memorable. Much as Cataldi’s Galatea had captivated me sixteen years earlier, I found myself inexplicably drawn to Giacomo Balla’s Ritratto di Annina Levi della Vida. I cannot say precisely what it was about her that held my attention, but perhaps that is part of the mystery of art. Some works we admire; others stay with us for reasons we cannot entirely explain.
I had come to renew an old fascination and left with a new one.
Next: The Splendor of Santa Maria della Steccata
~ By Giovanni di Napoli, October 16th, Feasts of San Gerardo Maiella and Sant’Irene di Tessalonica
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| Two full-length views of Amleto Cataldi’s Galatea (1925), revealing the sculpture’s graceful pose, elongated proportions, and smooth, stylized forms |
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| Two views of Amleto Cataldi’s Galatea (1925). The stylized, French-inspired hairstyle, reflecting Secessionist rather than classical influences, reinforces the sculpture’s striking solidity and monumentality |
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| Two views of Vincenzo Gemito’s Ritratto di Anna Gemito (Portrait of Anna Gemito), 1886, terracotta. The delicate modeling of her face contrasts beautifully with the rough, expressive treatment of her hair and clothing |
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| Giuseppe De Nittis, Paesaggio invernale (Winter Landscape), 1867–1874. A bleak, atmospheric winter scene, with solitary figures crossing a rain-soaked landscape beneath a brooding sky |
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| Two views of Auguste Rodin’s Busto di signora (Bust of a Lady), 1907–1912, bronze. The sculpture combines the delicate modeling of the woman’s face with the expressive, textured folds of her clothing |
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| Ettore Tito, Il vento (The Wind), 1895–1909, oil on plywood. A delicate portrait of a young woman, her windswept hair and softly modeled features captured in expressive brushstrokes |
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| (Left) Antonio Muñoz’s 1931 catalogue of the Galleria Mussolini d’Arte Moderna Italiana, formerly located on Rome’s Capitoline Hill. (Right) Maria Immacolata Zaffuto, Cantiere con figure (Building Site with Figures), 1925–1940 |
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| (Left) Enrico Lionne, Violette, 1913, oil on canvas. (Right) Giacomo Balla, Ritratto di Annina Levi della Vida (Portrait of Annina Levi della Vida), 1930–1940, oil on canvas. I found myself completely enthralled by this portrait. There is something captivating about her quiet expression, direct gaze, and understated beauty that makes it difficult to look away and even harder to forget |
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| Amedeo Bocchi, Nel parco (In the Park), 1919, oil on canvas. A striking portrait of an elegantly dressed woman seated in a garden, her vivid yellow blouse and dark hat contrasting beautifully with the lush green surroundings |
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Onorato Carlandi, Agitazione (Turmoil), c. 1916, oil on canvas. A dramatic landscape dominated by turbulent storm clouds, with shafts of light breaking through the darkness above a desolate plain |
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| Tommaso Bertolino, Languore (Languor), 1939, bronze. A sensuous reclining female figure, her elongated body and languid pose conveying an atmosphere of quiet intimacy and repose |
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| (Left) Giovanni Prini, Gli amanti (The Lovers), 1909, marble. Two figures locked in an intimate embrace emerge from a roughly hewn block of stone. (Right) Girolamo Masini, Cleopatra, 1882, marble. The Egyptian queen reclines beside a sphinx, her elaborate headdress and flowing garments rendered in exquisite detail |
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| Three sculptures by Ettore Ximenes (1855–1926). (Left) Principessa Laetitia (Princess Letizia), 1890–1910, patinated plaster and bronze. An elegant bust depicting the princess in a contemplative pose. (Center) Americana con cappello (American Woman with a Hat), 1909–1920. A fashionable woman in an elaborate hat and flowing gown. (Right) Ritratto di signora (Portrait of a Lady), 1900–1906, bronze. A poised female figure standing confidently with one hand on her hip |
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| (Left) Attilio Torresini, Afrodite (Aphrodite), 1930–1934, bronze. A graceful female nude, her raised arms and elegantly modeled figure recalling classical ideals of beauty. (Right) Ada Salvadori, Madonna, c. 1955, terracotta. A solemn, stylized depiction of the Virgin Mary, her bowed head and downcast eyes conveying quiet devotion and contemplation |
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| Two views of Attilio Torresini’s Bagnante (Bather), 1934–1936, bronze. A graceful seated female nude, her folded limbs, gently bowed head, and contemplative expression conveying a sense of quiet intimacy and repose |
