New Palazzo Strozzi exhibition: from Kandinsky to Pollock

The Fondazione Palazzo Strozzi impresses once again — this time with a journey between Europe and America taken through the collections of Peggy Guggenheim and her uncle Solomon. From the very first room of the show, we can appreciate the curators’ meticulous work as they deftly used light and rounded walls to recreate the magic of the famed Guggenheim Museum in New York. We are taken on a journey through Surrealist, Expressionist, Abstract and Pop Art movements (though only one of the contemporary artists shown is still living.)

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Over 100 European and American art works on are display, spanning the 1920s to the 1970s, reconstructing the densely interwoven relationship between the two sides of the Atlantic. There are masters of modern art like Marcel Duchamp, Max Ernst, Pablo Picasso, Emilio Vedova, and Lucio Fontana, alongside great paintings and sculptures by leading figures in American art, including Jackson Pollock (given his own room), Mark Rothko, and Roy Lichtenstein.

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The relationship between Guggenheim and Palazzo Strozzi dates all the way back to 1949 when Peggy decided to show her collection in Italy for the first time — the collection whose permanent home is now Venice. Star pieces in the show include Kandinsky’s painting “Dominant Curve,” seen in the first room. Max Ernst’s “The Kiss,” and Francis Bacon’s “Study for Chimpanzee,” which Peggy kept in her bedroom in Venice, deeming it the only work by Bacon that didn’t scare her!

Lichtenstein’s magnificent “Preparedness” is shown in the last room, using his Pop style to condemn the Vietnam War. B

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This exhibition is well worth a visit to expand your knowledge of 20th century history after World War II thorugh a juxtaposition of the great masterpieces of the era’s defining art movements.

From Kandinsky to Pollock
The Art of the Guggenheim Collections
Palazzo Strozzi
From March 19 to July 24
Daily from 10:00 am to 8:00 pm
Thursday 10:00 am to 11:00 pm
www.palazzostrozzi.org

English translation by Miriam Hurley

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