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The Museum Duilio Cambellotti

03 Aprile 2014

Head Office: San Marco's square-Latina

In 1984, the City of Latina decides to celebrate the close relationship existed between Cambellotti and the pontine territory with the exhibition Cambellotti sculptor and the Pontine Marshes, held at the building of the former Opera Balilla, a city building foundation designed by Oriolo Frezzotti in 1932. At that impostante exposure followed, ten years later, the exhibition at the Civic Gallery of Modern and Contemporary Art of Latina in a section specially devoted to some works of the Roman, arrived in the capital thanks to the donations of the heirs Cambellotti and to purchases made by the Town Council of Latina.
Starting from its core that important - embellished over the years by other major acquisitions - was founded in 2005 Cambellotti The Museum of Latina-based (not surprisingly) at the building of the Opera Balilla.
There are preserved sculptures, drawings, gouaches, woodcuts, ceramics, books, medals, posters and documents, documenting in an almost exhaustive nearly half a century of activity in the territory of the Roman pontine.
In the large central hall they found the place preparatory to their original cartons Agro Redemption (1934), the cycle of paintings in tempera on panels made of asbestos decorating the Palace of the Government of Latina, together with sketches in tempera on paper and those pencil and ink on glossy paper, which tell in an almost complete picture of the creative process of the great mural cycle.
The intense sculptural activity Duilio is documented by a large number of works, large and small format. Beside the solemn Buttero (1918-19), and the extraordinary Cows aratrici, the Ploughshares (1924) is the hieratic Peace (or The Wandering) a large plaster sculpture (height 177 cm) generally refers to the period 1914-1919. The first date is that of a white lead and ink drawing on paper, in which Cambellotti "simulates" the carving woodcut, the '19 is the year in which for the first time the work is submitted to the Promoter of the Company's exposure turin.
"He designed a modern style without crowns and without trophies, wingless and without sandals, a peace more human than divine, and has modeled in wax a young woman holding hard on the head of a large plow, walking certainly over the bloody sod from battle and see the future ".
Peace is one of the first sculptures in which the artist proposes cutting strong, clear and deep, blatantly anti-naturalistic, typical of the woodcut and some of his graphic and pictorial, which in the past did speak of "outcomes Expressionists not depart from contemporary representations of K. Kollowitz ".
In 1984 and 2000 two translations were made of bronze placed respectively at the Presidency of the Regional Council of Lazio in Rome and Piazza B. Buozzi in Latin America.
Another great creation, which Cambellotti was applied at various times over more than two decades, is the monumental source of the Marsh, a bronze sculpture in which a group of horses is drinking from a fountain, cast in 1984 by 'original plaster in the Galleria d'Arte Moderna in Rome.
It is traced back to the last months of 1912 the clay model from which the artist, a few months later, he would stretch the final version, shown at XC edition of Amateurs and Connoisseurs of 1922.
"Around four side walls of the cube, and then into the trough, are carved of mares thirsty. Whilst the children twist their bodies toward maternal anxious to take the stern, they stretch their long necks, pour a drink".
In the long Duilio aspires to see the translation into stone of the work, until in 1934 it raises the possibility that it is carried trachyte cimina, a stone of pinkish gray. The economic difficulties forced him to give up even though the project, a new composition of small size is conceived in plaster two years later (casting in bronze, h. 32 cm, is in 1999), a triptych by the marked plasticity, but quite far from the initial idea.
A special annotation deserve the numerous preparatory studies - sometimes actual finished works (tempera on cardboard, pen and pencil on tracing paper and graph) dedicated to the Fallen Monuments designed to Terracina, Priverno and Borgo Hermada, we illustrate how and how much Cambellotti meant his sculptural activity in key architectural, non-exempt, at times, by a marked theatrical component.