Tags Exhibition

Informed by the languages of music and mathematics, Melotti’s harmonious and delicately-poised work is revered in Italy, yet surprisingly little-known in the UK.

Since the early 1990s, Giuseppe Iannaccone has been amassing one of the most outstanding private collections of Italian art of the inter-war years. Presenting a large number of iconic works, this exhibition explored a crucial phase of Italian art history little-known outside its native country.

This exhibition celebrated Campari’s rich heritage in creativity and design, showcasing the ground-breaking advertising and packaging designs responsible for establishing and maintaining unrivalled global recognition for the brand.

This exhibition explored a little known period of Italian cinematic history, highlighting the strong Modernist influence apparent in the set designs created for a number of romantic comedies during the inter-war years.

The Estorick opened its 20th anniversary year with a major exhibition of works from one of the world’s most important collections of modern Italian art, housed at Milan’s Pinacoteca di Brera.

The term ‘Arte Povera’ was first used in September 1967 by the critic Germano Celant to describe the work of a number of artists who engaged with unconventional, and often humble, materials.

Best known for his swirling ‘Woolmark’ logo, Franco Grignani (1908-1999) was an extraordinary graphic designer and artist whose dazzling works anticipated many of the key ideas and visual characteristics of Op Art by several years.

Organised in collaboration with the Biagiotti Cigna Collection, this major exhibition presented a career-spanning retrospective of one of Italian Futurism's most important and consistently inventive artists. Encompassing his early Divisionist imagery, iconic Futurist paintings and examples of his distinctive work in the sphere of the applied arts, it offered a comprehensive survey of Balla's multifaceted activity between the years 1895 and 1958, including many works rarely seen outside Italy.

Following an extensive refurbishment of the museum, the Estorick Collection reopened with a major exhibition of rarely seen works documenting the role of British forces in Italy during the First World War. Comprising the imagery of official war artists and photographers, it highlighted a forgotten aspect of Britain’s involvement in the conflict.

In the autumn of 1976, a group of painters from Italy’s northern Trentino region published their ‘Manifesto of Objective Abstraction’. Reacting against what they considered to be the superficiality of contemporary culture, Mauro Cappelletti, Diego Mazzonelli, Gianni Pellegrini, Aldo Schmid, Luigi Senesi and Giuseppe Wenter Marini called for a renewed attention to the painterly process and its fundamentally abstract concerns.