Without category

Pizziolo, M 1991, Artéfici, non artefìci. Arte russa contemporanea, Proserpia, Milan.

The catalogue of one of the first reviews of contemporary Russian art, which took place in Italy after Perestroika. Held under the aegis of the Soviet Academy of Sciences and the Ministry of Culture of the Russian Federation, it presents an exciting exploration of the Moscow scene.

Pizziolo, M 1992, Donato Frisia. L’invenzione del vero, Bolis, Bergamo.

The first critical-historical reconstruction of the figure of Donato Frisia, a Lombard artist who was active in the first half of the 20th century. Appreciated by artists such as Braque and Amedeo Modigliani, who dedicated no less than five portraits to him.

Pizziolo, M 1994, Di-segno opposto. Opere su carta di Ennio Morlotti, Fondazione Corrente, Milan.

A precious numbered edition published in Milan by the Corrente Foundation presents a meticulous analysis of the works on paper of Ennio Morlotti.

Colombo, N & Pizziolo, M 1994, Donato Frisia, Archivi d’Arte Lombarda, Milan.

The in-depth historical-critical study conducted by Marina Pizziolo on the work of Donato Frisia, through the presentation of numerous unpublished works, reveals the originality of an artist of a powerful modernity. Appreciated in the first half of the 20th century by artists such as Amedeo Modigliani and Braque.

De Grada, R & Pizziolo, M 1994, Ennio Morlotti. Opere 1940 – 1990, Museo delle Arti e Galleria d’Arte Moderna Palazzo Bandera, Busto Arsizio.

The catalogue of the first retrospective review held at Palazzo Bandera shortly after the death of Ennio Morlotti, one of the protagonists of 20th century Italian painting.

Colombo, N & Pizziolo, M 1995, Mondonico: le ragioni di un incontro. Gola, Frisia, Carpi, Brambilla, Nuova Galleria Carini, Milan.

The book offers the result of original research conducted by Marina Pizziolo on Mondonico, a small town in Brianza, near Milan, which for various reasons was chosen by a group of artists active in the first half of the 20th century as their “sanctuary of colour”.

De Micheli, M, De Michelis, M & Pizziolo, M 1995, Le ragioni della libertà. A cinquant’anni dalla Resistenza, Vangelista, Milan.

The catalogue of the major exhibition of painting, sculpture, architecture and theatre held at the Triennale in Milan in 1995. An event inaugurated by the President of the Republic, which saw the culmination of the Italian celebrations for the fiftieth anniversary of the Liberation.

Pizziolo, M & Proterra, R 1996, Le maioliche di Castelli d’Abruzzo, La Piazza, Robbiate

Through the analysis of the work of five major contemporary artists the book offers views on the new possibilities of interpretation of the majolica of Castelli d’Abruzzo.

Pizziolo, M 1996, Attracchi, Brainframes, Imbersago.

Catalogue of the event held in Agrate Brianza just outside Milan, in 1996. For three days the town hall was transformed, with twenty-one installations by international artists creating a provocative Babel of artistic languages.

Chiappini, R & Pizziolo, M 1997, Opere d’arte della città di Lugano. Fondazione Aligi Sassu, Skira, Milano.

The catalogue presents the entire corpus of the Aligi Sassu Foundation, established in Lugano following the artist’s wishes. The foundation hosts the author’s huge personal collection.

Pizziolo, M 1997, Donato Frisia: differita di un evento, Galleria Mari, Imbersago.

The anastatic reprint of the monograph published in 1954 to mark the exhibition commemorating Donato Frisia, held at the Civic Gallery of Modern Art in Milan. Preceded by an essay by Marina Pizziolo, this reprint made an absolutely unobtainable work available to the attentive public of collectors and bibliophiles.

Pizziolo, M 1998, Corrente. Opere su carta 1938-1945, Fondazione Corrente, Milan.

The catalogue of the exhibition held in Milan, at the Corrente Foundation, as a further investigation of the major retrospective commissioned at the same time at the Museum of La Permanente, again curated by Marina Pizziolo.

Pizziolo, M 1998, Marco Petrus. Lo spazio del tempo, Galleria Aldo Mari, Imbersago.

The catalogue of the exhibition dedicated to the winner of the Morlotti Imbersago Award 1998. The award was conceived and administered for almost a decade by Marina Pizziolo as an observatory of the Italian art scene.

Pizziolo, M 1998, Giovanni Frangi. Demasiado tarde, Galleria Aldo Mari, Imbersago.

The catalogue of the exhibition dedicated to the winner of the Morlotti Imbersago Award 1997. The award was conceived and administered for almost a decade by Marina Pizziolo as an observatory of the Italian art scene.

Pizziolo, M 1998, La Milano dei Brambilla e di Buzzati. Tre amici nel naufragio dei giorni, Gallone Editore, Milan.

A fascinating reconstruction of the life-long friendship between Dino Buzzati and brothers Arturo and Alberto Brambilla. Through an extraordinary corpus of unpublished letters the lives of three extraordinary intellectuals are brought to light. The best known, Dino Buzzati, is revealed in a different, private dimension. A man who speaks of himself to his friends without modesty.

Pizziolo, M 1998, Corrente e oltre. Opere dalla collezione Stellatelli. 1930-1990, Charta, Milan.

The catalogue of the exhibition held in Milan, at the Museum of La Permanente. The Stellatelli collection offers a unique perspective on the careers of fifteen artists who participated in the Corrente movement in the period between 1930 and 1990. Sixty years of Italian art are reflected in the work of these artists.

Menato, G & Pizziolo, M 1998, Carmassi. 1950-1998, Edizione Il Ponte, Florence.

The careful reconstruction of the long artistic career of one of the protagonists of the second half of the 20th century.

Pizziolo, M 1999, Giovanni Paganin. Sculture 1940-1985, Skira, Milan.

The catalogue of the most important retrospective of the sculpture of Giovanni Paganin, a leading artist on the Milanese art scene of the post-war period. The exhibition was held at the Museum of La Permanente in Milan.

Manciet, B & Pizziolo, M 1999, Carmassi. Opere recenti, Il Ponte, Florence.

A monograph published to coincide with the exhibition held at Palazzo Vecchio, Florence. With extreme cohesiveness, Carmassi raises his secular cry against the pain of living. Precious testimony of an original artistic career.

Pizziolo, M 1999, Ernesto Treccani. Anni novanta. Opere dalla collezione Brambati, Brainframes, Imbersago.

The vast Brambati collection curated by Marina Pizziolo and Romano Ravasio offers a unique observation point from which to explore Treccani’s painting of the 1990s.

Pizziolo, M 1999, Aligi Sassu. Antologica 1927-1999, Skira, Milan.

The extensive catalogue by Marina Pizziolo reconstructs Sassu’s complex artistic career and contains various essays, including those by Antonio Paolucci on his painting, by Carlo Pedretti on his monumental works, by Paolo Moreno on his sculpture and by Giancarlo Bojani on his pottery. All the works exhibited in the last major retrospective held in Florence at Palazzo Strozzi shortly before Sassu’s death are documented in it.

Pizziolo, M 2000, Arturo Carmassi. Collages e sabbie 1977-1994, Istituto Italiano di Cultura, Brussels.

The catalogue of the exhibition held in Brussels and dedicated to one of the protagonists of the Italian artistic scene of the post-war period.

Crispolti, E & Pizziolo, M 2000, Renato Guttuso. Spes contra spem. I capolavori della Fondazione Pellin, Electa, Milan.

A monograph that marks the creation of the Francesco Pellin Foundation. Dedicated to the study and popularisation of the work of Renato Guttuso, the Foundation was brought into being thanks to the commitment of Marina Pizziolo, who went on to direct it for four years.

Pizziolo, M 2002, Mauro Betti, Il Ponte, Florence.

An exploration of the painting of Mauro Betti, an Italian artist who plotted an original career path between the iconic and the non-iconic.