The Pinacoteca, which opened in 2006, has work purchased by the Comune through the “Città di Civitella” prize for painting which went national from the mid-seventies, attracting not only Tuscan artists but those from Veneto Friuli and Lombardy in particular.

The prize is still held every two years and since 1976 it alternates with the sculpture show (S)oggettivamente when the town centre is turned into an open air sculpture museum where visitors can view works by the likes of Salvatore Cipolla, Marcello Guasti and Iorio Vivarelli.
The museum documents a large cross-section of post-war artistic languages, from figurative to abstract, thanks also to major donations.

The Museo Michelangiolesco in the Caprese Fortress has a section with wood and bronze sculptures from the second half of the twentieth century. T

The collection was started in 1969 and was expanded through gifts and acquisitions above all in 1975, when the sculpture competition for the 5th centenary of the birth of Michelangelo was held. Some pieces, including those by Antonio Berti, Cecco Buonanotte and Iorio Vivarelli, are on show in the Sculpture Garden; most, however, are on show in the main room of the Corte Alta building; they are by sculptors such as Pericle Fazzini, Ferruccio Ferrazzi, Emilio Greco, Quinto Martini, and Vittorio Tavernari.
In 2006, the museum was expanded with the addition of a collection donated by Enrico Guidoni dedicated to small nineteenth-century Italian sculptures with work by Medardo Rosso and Umberto Boccioni.

The collection occupies the upper floor of Palagio Fiorentino, rebuilt in mediaeval style in the early twentieth century on the site of an earlier residence of the Conti Guidi.

The idea of a collection of twentieth-century art in a small town in the foothills initially came from art collector Vicky Galati Indelli, who gifted the core collection of paintings and sculptures that were added to by other gifts. The collection currently comprises about 200 works of art, mainly by Tuscan artists (with a prevalence of Florentine artists including Vinicio Berti, Enzo Faraoni, Gualtiero Nativi) working in the second half of the century.

There is however no lack of non-Tuscan artists such as Ernesto Treccani, Felice Carena, Salvatore Fiume and Pietro Cascella.
From the first half of the century there are drawings by Rosai and Sironi and portraits by Osvaldo Peruzzi and Libero Andreotti.

Giuliano Ghelli (1944–2014) had a sentimental attachment to Poppi, the birthplace of his parents, and he exhibited there in 2006, preparing the ground for the foundation that was set up in his name the following year in cooperation with the municipality.

About twenty works were housed in Palazzo Giorni with the intention of creating a permanent exhibition space to display the artist’s forty-year long career. They were later moved to the old stables in Castello dei Conti Guidi where can be seen today.
In the summer of 2013, on the occasion of one of his major exhibitions Giuliano Ghelli. Racconti a colori. 50 anni in viaggio tra pittura e scultura, the collection was expanded with new acquisitions, notably the l’Esercito di terracotta [Terracotta army], an installation of female busts lined up on the castle’s main staircase.

In 1985, Venturino Venturi (1918–2002) donated a substantial portion of his oeuvre to his home town Loro Ciuffenna and in 1993 rooms dedicated to his work opened in the town’s Palazzo Pubblico.

The work on display documents Venturino’s artistic development and his lively involvement in the contemporary Italian sculpture scene. After his early studies in France and Luxembourg, in 1936 he moved to Florence where he encountered the lively artistic and literary scene of the period.
Success came in the post-war years with his first major exhibitions, his friendship and collaboration with Giovanni Michelucci, his admission to the neo-avantgarde circles of Milan, and his invitation to the Venice Biennial in 1950.

He continued to explore and investigate up until the twenty-first century, creating work with a high degree of plasticity, in the vein of primitivism, experimenting with different techniques and materials. About 30 of the 130 works in Loro Ciuffenna’s civic collection of contemporary art are on show in two adjoining rooms at the Venturino Venturi Museum. The pieces were purchased on the occasion of the Loro Ciuffenna Prize that was held from 1962 until the mid-1970s and again in 2008 and 2910.

The Venturino Venturi Archive is housed in the Casa Venturi, just above the town centre and opposite the Ciuffenna torrent, where the artist decided to go and live in later life and renew a powerful bond with his native land.

Casa Venturi still has the sculptor’s studio and living quarters. It offers a programme of educational activities and organizes national exhibitions.
Conserved in the museum are works of graphic art, sculptures, paintings, mosaics, documents, books and catalogues, which enhance this first-class centre for information about one of the major artists of the second half of the twentieth century in Italy.

Although Gino Severini (1883–1966) lived in Paris for many years he remained attached to his native city of Cortona where he executed the Via Crucis in the post-war period and the mosaic for the facade of the church of San Marco (1961). In 1959 he also arranged  his work to the Accademia Etrusca, which housed the pieces in Palazzo Casali where they can now be seen in a room on the middle floor.

The bequest comprises paintings, drawings, engravings, mosaics and documents of various kinds (letters, catalogues, posters, etc.). Among the paintings, which cover the period from his earliest work to the Cubist Futurist period, are many family portraits including Maternità [Maternity], a masterpiece from 1916 that harks back to an earlier period and was characteristic of the inter-war years.

Housed in a former military garrison, the Cassero museum is entirely dedicated to nineteenth- and twentieth-century sculpture.

It comprises hundreds of works donated by private individuals and holds valuable documents in its archives.
The ground floor displays large sculptures, while the first floor has sections dedicated to local artists Ernesto Galeffi (1917–1986) — with sculptures, paintings and drawings that previously comprised a separate museum — and Pietro Guerri (1865–1936). The second floor is given over to the work of two sculptors from the Lombardy and Piedmont area, Michelangelo Monti (1875-1946) and Timo Bortolotti (1884-1954).
Among other bequests are those of Mario Bini, Donatella (Dodi) Bortolotti, Odo Franceschi and Arturo Stagliano.
The Cassero also has a lively programme of exhibitions and a specialist education programme.

The history of San Giovanni Valdarno’s civic collection dates back to the late 1950s and the Masaccio Prize for painting which, in reflecting the town’s interest in contemporary art, became a meeting place for high-profile personalities and experiences.

Six further editions of the prize were held until 1968 when the prize, being aimed at younger artists came to an end, revealing the limits of traditional media — painting and sculpture — compared to a highly sophisticated level of experimentation.
In the 1970s the works of art that had been acquired through the competition and held temporarily in the town’s art gallery (Pinacoteca Comunale), were to be housed in the building recently identified as the childhood home of Masaccio.
The Comune decided to use Casa Masaccio for exhibitions, and since its inauguration in 1978 its reputation has grown at international level driven by its collaborations with foreign artists and museums, as well as its focus on home-grown art and the creativity of new generations. Recently, works of art that have been donated to the Comune as a result of its long-standing exhibition activities and previous acquisitions via the Masaccio Prize have found a permanent home in Casa Giovanni Mannozzi, while new exhibition spaces complement Casa Masaccio for temporary events.

ADMISSION FREE

From Monday to Saturday 3:00 PM – 7:00 PM, Sundays and Holidays 10:00 AM -12:00 AM, 3:00 PM – 7:00 PM

Unoaerre’s corporate museum, which opened in 1988, is particularly important to the region. In Arezzo the art of the goldsmith is a tradition of Etruscan origin that was revived in the twentieth century as a result of successful collaborations with artists.

Housed in the company’s premises near Arezzo, the museum was created in 1934 to preserve the history of goldsmithing by exhibiting antique equipment alongside the collections, which go from the Belle Époque to the kinetic and pop art jewellery of the 1970s, and the most recent collaborations with artists of repute such as Giò Pomodoro.

The medal collection comprises medals and plaquettes designed by engravers from the mint and by artists such as Pietro Cascella, Salvador Dalí, Salvatore Fiume, and Giacomo Manzù.