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Museo d'Arte Moderna "Mario Rimoldi"
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The Museum was officially opened in 1974 thanks to the generous gift donated to the Regole of Ampezzo by Mrs Rosa Braun, the widow of Mario Rimoldi, a well known collector in Cortina d'Ampezzo.

Famous artists like De Pisis, De Chirico, Sironi, Campigli and Music - habitual guests of the Ampezzo valley- started a fruitful friendship with the art collector.
In 1941, when the first international exhibition of Art Collectors opened in Cortina, the Mario Rimoldi collection was already well delineated. It featured splendid paintings by de Pisis, Morandi, Semeghini, Rosai, Campigli, Sironi, Garbari, Severini, Tosi and Guidi.
After World War II, the collection grew with the experimental works of the artists who were already represented by their figurative art works. The art collector was interested in the artists of the figurative school from the Veneto area like Cadorin, Cesetti, Saetti, Tomea and Depero, and also in the new artistic movements that were being created. The collection features La Zolfara by Guttuso and works by the leading artists of the new experimentation like Corpora, Crippa, Dova, Morlotti, Music, Santomaso, Vedova. The collector discovers also foreign artists like Kokoschka, Leger, Villon, Zadkine, and widens his interests with the protagonists of the neo-avantgarde and the abstractionism of the Fifties.

The Ministry for Cultural Heritage and Activities has recognized the cultural interest of the collection which spans over a period of fife years and is noted as one of the most significant collections of the 20th century Italian art.; for the presence of masterpieces by painters like Savinio, Garbari, Depero, Guttuso and of a few works which are fundamental in the study of de Pisis, Sironi, De Chirico, Semeghini, Tomea, Tosi, Campigli.

The permanent exhibition features the Chiesa di Cortina and the Soldatino francese by de Pisis, the Bagnanti by Carena, the Squero di San Travaso by Semeghini, the Zolfara by Guttuso, the San Sebastiano by Garbari, the Ile des charmes by Savinio and the Concerto by Campigli.

The museum aims at preserving, improving and promoting the collection; at informing about art collector Mario Rimoldi and increasing the interest for the Italian art of the Twentieth century. The museum cooperates with temporary exhibitions of important Italian and foreign institutions.

The exhibition aims at recalling the first Italian Exhibition of Contemporary Art Collections, which was held in Cortina in August 1941, with the support of the Ministry of Education.
Mario Rimoldi, who had always been encouraging young painters, was entrusted with its organization. The exhibition aimed at promoting contemporary art collections and encouraging the creation of new collections.

The exhibition unfolds on three floors:

Ground floor: Falling in Love
Reconstruction of Mario Rimoldi's historic and cultural environment. In addition to artworks from his private collection there are displayed images, documents, and anything apt to best introduce the visitor to the times and spirit of the art collector.

First floor: Contemporary Art, Today
Along the same line of the 1941 Italian Exhibition of Contemporary Art Collections and in the same spirit of Mario Rimoldi, who had close contacts with the artists of his time, there are works by contemporary artists from private art collectors and art galleries all over Italy.

Second floor: Contemporary Art, Yesterday
This section displays the works from the Collection that best highlight Rimoldi as a keen forerunner in his choice of artists. Possible relationships with present works of art are significant.

Dopo aver acquisito, dal 1976, 2800 titoli dei 3500 elencati da Julius von Schlosser nella sua La letteratura artistica, Vittorio Sgarbi capisce “che quadri e sculture potevano essere più convenienti e divertenti del libro più raro”. Questa illuminazione scaturisce dall’incontro con Mario Lanfranchi, collezionista maestro perfetto, il primo dei tanti da lui incontrati dopo aver abbandonato il dogma universitario che lo aveva indotto a “guardare le opere d’arte come beni spiritualmente universali ma materialmente indisponibili”.
Così, dal 1983, incrociando il San Domenico di Niccolò dell’Arca, Sgarbi decide che non avrebbe “più acquistato ciò che era possibile trovare, di cui si poteva presumere l’esistenza, ma soltanto ciò di cui non si conosceva l’esistenza, per sua natura introvabile, anzi incercabile.” Come lui stesso afferma “la caccia ai quadri non ha regole, non ha obiettivi, non ha approdi, è imprevedibile. Non si trova quello che si

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Michele Mirabella
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Paysage. La pittura di paesaggio e il collezionismo di Mario Rimoldi

Sabato 20 agosto 2016 - ore 18.00
Museo d’Arte Moderna Mario Rimoldi - Ciasa de ra Regoles

Il paesaggio ha ispirato una lista vertiginosa di artisti, i quali, in ogni tempo, ne hann

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Regole d'Ampezzo - Via Mons. P. Frenademez, 1 - I-32043 Cortina d'Ampezzo - Codice fiscale e partita IVA 00065330250