women's portraits made in those decades, taking up so the rope of speech started ten years ago with the exhibitions centered on the figure of artists from the Marche region that have operated in the same period, in which tradition and modernity have clashed violently.






The presence in Civitanova Marche, in the early 20th century, the young Sibilla Aleramo who set right in the small Center marchigiano his debut novel, "a woman", represented the cultural basis from which to build to analyze how the female figure has been represented in the world of the arts at a time when women were beginning to express a strong aversion towards their subordination condition than men.





Through fifty paintings and sculptures, the exhibition "a look on women: Macchiaioli Modigliani", curated by Stefano Papetti, presents the various roles that women covered in society of the time, in a location that is divided into six areas in which there are images that represent them in their capacity as mothers, women workers, artiste, seductive conquistatrici, recluse convents for choices often imposed by family or muse inspiring works of their fellow artists.





The exhibition, realised thanks to a careful selection of works that are preserved in the public and private collections of the Marche region, will know some important paintings unpublished, like touching portrait of Mrs Symbols executed in 1928 by Giacomo Balla, owned Wissenschaften of Treia, the portrait of his wife Nanny Hellstrom painted by Osvaldo Licini in the 1920s, when the artist marchigiano was in Paris where, shortly before the disappearance of the painter livornese, had met Modigliani this exhibition with a portrait of a woman of great suggestion.





In the first decade of the 20th century the tabloid gave ample space to the vicissitudes of Russian Countess Maria Tarnowska, Sicilian Princess Giulia Trigona of Sant'Elia, Lady-in-waiting of the regina Elena, killed in a small hotel romano during a clandestine meeting with her lover, or one of the sons of distinguished clinician Augusto Murri, finished in prison accused of the murder of count Bommartini: you testified so the image of the femme fatale will leave a deep mark on those who loved, divulged even in the literature of those years.





The exhibition of Civitanova devotes ample space to this prototype feminine, presenting a series of portraits of seductive girls represented in the darkness of their alcove, as in the painting by Giovanni Battista Cream, or while you abandon to dreams amorosi after reading a book of poetry, as in the Opera of Napoleon Grady or in sculptural Giuseppe Makes that struck a consumed as Wladimiro viveur Grand Duke of Russia.





But at the same time also discusses other lifestyles, such as the one marked by the struggle of life in the camps, described in the canvas of the painter Nazzareno Orlandi, sold all that so successfully collected in Argentina, or the renunciation of freedom sets convents, where sometimes the young were recluse for parental choice rather than by vocation, situation that emerges in the painting by Domenico Morelli depicting a fragile-looking clueless novice.





The world of painting, considered for a long time place reserved to men, in the early 1900s counts some female representatives that, regardless of the reviews of self-righteous, devote themselves to artistic activity successfully, as show the canvases by Giulia Panichi, student of master romano Cesare Mariani, and young Patriot Giulia HotelTravel.com member.





Many were also girls who, attending as models of painters, studies have come to establish with them an exclusive relationship that has promoted to the rank of muse inspiring art of their fellow life: Lina Ciucci, wife of eclectic painter Adolfo de Carolis, very estimated also by D'Annunzio, was the prototype of feminine beauty repeatedly exploited by the artist for his compositions of more success, as demonstrated by the unpublished portrait that appears in the manifest of the exhibition, recently purchased by the Fondazione Cassa di Risparmio di Fermo.





The catalogue, as the exhibition curated by Stefano Papetti, edited by the municipality of Civitanova Marche contains essays that describe in a multidisciplinary vision the theme of the show: Stefano Papetti offers us a c