Felice Casorati: A Chronological Journey Through Art and Style Evolution

The narrative of the Felice Casorati exhibition at Palazzo Reale follows the chronological evolution of the artist’s career, exploring his diverse sources of inspiration and artistic styles. From verism to symbolism, neoclassicism to magical realism, and an expressionist phase influenced by Picasso’s distortions, the exhibition concludes with Casorati’s return to synthesis and flat-color compositions, hallmarks of his later years.
The journey begins with early works characterized by stark realism, such as the renowned Portrait of Sister Elvira (1907, private collection) and The Heiresses (1910, Mart, Rovereto). A significant focus is placed on Casorati’s years in Verona, where he moved with his family in 1911. During this period, Casorati embraced symbolism and the secessionist movement, inspired by nearby Venice. Here, he frequented Ca’ Pesaro, held his first solo exhibition in 1913, and interacted with notable artists like Gino Rossi, Arturo Martini, and Teodoro Wolf Ferrari.

Highlights of Casorati’s Masterpieces

The exhibition features monumental works, such as the Great Tempera Paintings, and tracks his stylistic evolution after his move to Turin following his father’s untimely death. In 1919, Casorati settled in a house-studio that would remain his lifelong home. For the first time since 1964, an ideal triptych of three significant paintings is reunited: A Woman (The Wait) (1918–19, private collection), A Man (Man with Barrels) (1919–20, GAM Turin), and A Girl (Girl with Bowl) (1919, GAM Turin). These works, with their stark spatial minimalism and metaphysical solitude, reflect the emotional aftermath of World War I.
The 1920s brought masterpieces like Woman and Armor (1921, GAM Turin) and Silvana Cenni (1922, private collection), a metaphysical icon inspired by 15th-century classical proportions and Piero della Francesca’s altarpieces. Casorati also collaborated with Riccardo Gualino, a prominent patron and collector, creating family portraits and designing a private theater with architect Alberto Sartoris. This collaboration is showcased with portraits of the Gualino family, musician Alfredo Casella, and dancers Raja and Bella Markman.

Recognition at the Venice Biennale and International Acclaim

Casorati gained widespread recognition at the 1924 Venice Biennale. Five major works displayed at the Biennale, including Midday (1923, Museo Revoltella, Trieste) and Still Life with Mannequins (1924, Museo del Novecento, Milan), are featured in a dedicated exhibition room.
The exhibition continues with Platonic Conversation (1925, private collection), a celebrated painting that toured internationally, from Milan’s First Novecento Italiano Exhibition in 1926 to venues in Dresden, Geneva, Zurich, Pittsburgh, New York, and the 1929 Barcelona Expo, where it won a gold medal. Also on display is the Annunciation (1927, private collection), a masterpiece last seen by the public in 1927, which merges divine symbolism with geometrically complex, intimate spaces.

Late Career and Theatrical Contributions

Casorati’s later years were marked by anti-classical experimentation, as seen in his evocative still lifes and portraits of young women, such as Women in a Boat (1933, Ricci Oddi Gallery, Piacenza). He also revisited themes like eggs, symbolic of his motto “Numerus, Mensura, Pondus”, in works like Still Life with Helmet (1947, GAM Turin) and Eggs on Red Background (1953, private collection).
A passionate musician, Casorati’s legacy includes scenographic designs for major opera houses such as Teatro alla Scala in Milan. Sketches and set designs for productions like The Bacchae and Fidelio, sourced from Scala’s historical archives, offer a glimpse into his multidisciplinary talent.

Exhibition Catalog

The exhibition is accompanied by a comprehensive catalog published by Marsilio Arte, featuring essays by the curators and experts in Casorati’s work.