morandi leyendo
Past exhibition

The work of Giorgio Morandi (b. 1890; d. 1964), one of the most innovative still-life painters of the twentieth century, is not easy to classify. His enigmatic compositions of bottles, vases, and boxes continue to seduce viewers with their deceptive simplicity and subjective depiction of reality.

Morandi lived in his native city of Bologna, Italy, his entire life, spending summers in the mountains of Grizzana in the Emilia-Romagna region. He resided and worked in his studio-bedroom, a quirky setting rather like a still life in itself, where he was surrounded by his favorite objects. He would configure them again and again in subtly differing arrangements, concentrating on the infinite possibilities offered by the representation of common household items.

Although Morandi left Bologna only on rare occasions, he was an accomplished time traveler. A perspicacious student of art history, he looked to a great many sources for his own formation as an artist. A Backward Glance examines a specific aspect of Morandi’s work: the role of Old Master painting in his own production. Through an analysis of the still lifes he produced from the 1920s to the 1960s, the exhibition traces the connections between these images and those by the artists Morandi appreciated and studied. This exploration reveals mechanisms related less to influence or appropriation and more to elective affinities with the artists who came before him.

A Backward Glance investigates three precedents from three European countries, focusing on premodernist, pre-nineteenth-century references. These are Spanish seventeenth-century painting and the still-life tradition, the Bolognese painters from the late sixteenth to the early eighteenth centuries, and the still-life and genre works of the eighteenth-century French artist Jean-Baptiste Siméon Chardin. Morandi imbued his images of vases, bottles, and boxes with all the theatricality of the Spanish Golden Age, the naturalism of the Italian Seicento, and the intimacy that Chardin brought to the world of everyday objects.

Giorgio Morandi leafing through a art publication [detail]
Photo: Libero Grandi
© Giorgio Morandi, VEGAP, Bilbao, 2019


morandi leyendo

Born in Bologna, Giorgio Morandi (b. 1890; d. 1964) produced his timeless still lifes including those containing vases of flowers, and landscapes in his studio-bedroom in his hometown. Between 1907 and 1913, Morandi studied at the Accademia di Belle Arti of Bologna and had fleeting contact with Italian Futurism, Italy’s iconoclastic avant-garde. In 1919-20, he joined artists including Carlo Carrà and Mario Sironi, as well as Giorgio de Chirico, in the short-lived Pittura Metafisica movement.

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As part of the Didaktika Project, the Museum designs didactic spaces and special activities that complement every exhibition, providing tools and resources, both in the galleries and online, to facilitate the appreciation and understanding of the works exhibited.
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Morandi spent his summers in his studio in Grizzana, tucked away in the Emilian hillside. His idyllic surroundings influenced works such as his Landscape of 1927, which evokes the rich tradition of landscape painting that came before him. 
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Morandi’s still lifes often suggest an entire world with a few objects. In paintings such as his Still Life from 1952, that world was Bologna, the city where he lived and rarely left. The bottles, vases, and boxes grouped together in this work resemble the rooftops and towers of Morandi’s native city.
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Early in his career, Morandi realized a small number of self-portraits. The best known of these is his Self Portrait from 1917–19, which reveals his fascination with portraiture from different periods in art history.
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Flower paintings were a mainstay of Morandi’s artistic practice. His Flowers of 1916 reveals just how closely Morandi studied past examples of this genre.  Morandi’s Flowers is a close approximation of the Bouquet of Flowers with China Asters and Tokyos by Henry Rousseau (b. 1844, Laval; d. 1910, Paris).
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Comme l’atteste la Nature morte de 1956, les peintures de Morandi représentaient en général une simple disposition d’objets quotidiens. Reprenant ce modeste thème, cette nature morte perpétue la longue tradition de ce genre, qui montre la vie domestique, très souvent centrée sur la cuisine.
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