{"id":2411,"date":"2015-05-09T20:38:35","date_gmt":"2015-05-09T18:38:35","guid":{"rendered":"http:\/\/www.toscana900.com\/?page_id=2411"},"modified":"2015-07-24T09:14:38","modified_gmt":"2015-07-24T07:14:38","slug":"local-museums","status":"publish","type":"page","link":"https:\/\/www.toscana900.com\/en\/museums\/local-museums\/","title":{"rendered":"Local museums"},"content":{"rendered":"
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FLORENCE<\/h2>\n

The image of Florence as a new Athens, with its illustrious and picturesque traces of the past, and the signs of human intervention which over time have redrawn the landscape, as in the altarpieces of the fourteenth-century Primitives: this is the idea that surfaces when consulting the travel albums of foreign travellers at the beginning of the twentieth century\u00a0when Florence was their destination of choice. It was a time when the stereotype that had already enclosed the city in a gilded cage as the \u201ccradle of the Renaissance\u201d was already well established. And yet the signs of encroaching modernity were not ignored to judge from public and private collections, art schools, and the squares and streets of the towns.<\/p>\n

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AREZZO<\/h2>\n

The province of Arezzo has a large number of museums and galleries dedicated to twentieth century-art, the result of a regional vocation which first appeared in the 1960s, has become more established in the past twenty years,\u00a0and can now be said to have its own historic dimension of proven relevance.
\nOverall the picture is decidedly heterogeneous, albeit with a prevalence of museums of a general nature, i.e. \u201cgenerically\u201d dedicated to documenting twentieth century art.<\/p>\n

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GROSSETO<\/h2>\n

The twentieth-century artistic vocation of this outlying area is undoubtedly ascribable to the creation from the 1980s onwards of several\u00a0art parks, a category in which the area, and\u00a0not only Tuscany, takes the lead. On the other hand, museums for twentieth-century art are limited to the Pinacoteca Modigliani in Follonica and the Collezione Martini in Massa Marittima, while the provincial capital, Grosseto, does not have an appointed museum, that role being partly covered by CEDAV, the documentation and cataloguing centre.<\/p>\n

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LIVORNO<\/h2>\n

The early twentieth century witnessed the glorious season of the Macchiaioli, artists\u00a0who chiefly painted in the environs of Livorno (Leghorn, home to Giovanni Fattori, d. 1908) and the renowned seaside resorts, starting\u00a0with Castiglioncello. What then emerged in Tuscany was the generation of Livorno-based painters known as the post-Macchiaioli, who developed their research from the formal problems first raised by the Macchiaioli: they either provided a modern reinterpretation of this school (as in the case of Oscar Ghiglia, Mario Puccini, and Ulvi Liegi), or set themselves in contrast to it, for instance by embracing\u00a0the widespread Divisionist approach (as best exemplified by Benvenuto Benvenuti and Plinio Nomellini)<\/p>\n

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LUCCA<\/h2>\n

The province of Lucca is an area strongly oriented towards the conservation and promotion of twentieth-century art, which has strong roots there. It is not however a uniform panorama, but rather a scenario organized\u00a0by areas geographically different from one another and, furthermore, independent of the leading city.<\/p>\n

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MASSA CARRARA<\/h2>\n

On first arriving in Carrara, the visitor may feel almost overwhelmed by the Apuan Alps, the mountains rising behind the gentle curve of the Versilia coast, their daunting rocky peaks white with marble. One senses immediately how inextricably the history, identity and international fame of the town is linked to the excavation and sculpting of this prestigious white marble, which even shares the name of the city.<\/p>\n

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PISA<\/h2>\n

The province of Pisa is a dynamic territory where the development of a network for the safeguarding and promotion of twentieth- century art is still progress. But running parallel to the widespread number of printing works and publishing houses is a thriving graphics sector that comprises important institutions and collections.<\/p>\n

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PISTOIA<\/h2>\n

With canny foresight, at the beginning of the century Antonio Maraini recognized the role of Pistoia in Tuscany\u2019s artistic reawakening. Pistoia\u2019s present-day museums are a tribute to this \u201cprecious alcove, enclosed in its private world\u201d consisting of artists with high ideals and sound neo-figurative styles right from the start of the century, yet also home to spirits abreast with\u00a0the times and involved in the shaping of new artistic languages. This, then, is a land enriched\u00a0by its \u201cprovincial\u201d aspects, yet at the same time stimulated by national trends.<\/p>\n

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PRATO<\/h2>\n

It was Ardengo Soffici \u2014 painter, poet, essayist, and genius loci of twentieth-century Prato \u2014 who, having inhaled the spirit of avant-gardism, from his residence at Poggio a Caiano introduced the effervescent artistic ideas of Paris into Tuscan intellectual circles. The opening in 2009 of a museum devoted to him is recognition of his paramount importance to Prato\u2019s artistic sphere and, above all, of his key role in the Italian art of the early twentieth century.<\/p>\n

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SIENA<\/h2>\n

Writing about Siena in his Italian Hours,Henry James observed, \u201cThe great and subtle thing … in places of a heavily charged historic consciousness, is to profit by the sense of that consciousness.\u201d The artists here, in particular, have been profoundly influenced by these spaces shaped and stratified by history.<\/p>\n

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