Being my third time in Rome, I took my time to go to places I’ve never seen. I did have expectations; I expected more monuments to be ready for the 2000 Jubiliee. I was disappointed that Trajen’s column was completely covered. After passing by that part of the city, I went to the coliseum, then to the square of Campidoglio to stare up at Marcus Aurelius. Along the way, I passed the Altar of the Nation, which I have never seen without scaffolding.
After roaming the city a bit, I went to the National Museum of Modern Art (Galleria Nazionale D’Arte Moderna). This museum is as suggested: a museum of Italian modern artists. Climbing marble steps, passing by columns decorated with lion’s heads, and paying for my biglietto (ticket), the first piece I encountered kept me standing still for a half-hour. A life-size bronze sculpture by Emilie Franceschi of a woman tied to the cross: Eulalia Cristina. The statue was the perfect picture of suffering, similar to depictions of Christ on the cross. The pose was similar, but her expression and positioning of the hands suggested she did not accept her role as a martyr figure. Franceschi finished this piece in 1890--though I’ve taken several classes in art history, I would like to know what was happening socially in Italy at that time. I wonder what the public’s opinion was of this female Christ.
A painting by Gaetano Previati struck me--not a large painting, and no photograph I’ve seen does it justice. As in many galleries, it was positioned on a side wall above another painting. The limited palette portrayed the crucifixion. Previati showed three men crucified, with three women in audience. The central figure (Christ) hanging below the other two, positioning reflected by the women in the lower portion: two women are supporting the central woman, who has fainted. The title is Spasimo (Agony). Comparing this piece to those I‘ve seen in churches and cathedrals is not suggested: this piece was completed in 1901, using a different style and painting method.
When taking a break, be sure to check out the courtyard outside of the museum caffe (eat before you go; the panino was overpriced and stale). There are various large sculptures outside, and the museum has let nature/weather have an effect on the presentation.
This museum has more spacious areas than some of the other museums; however, a few of the rooms are rather cluttered. Within one long room, I came across another beautifully executed painting, by Vittorio Corcos. A woman in period dress sits on a wooden bench, staring at the viewer. Her chin was planted on her knuckles, and she stared with intense interest, seeming to invite the viewer to stare back. The painting is fairly large; I believe there is a bench located in front of it. Sogni (Dreams), completed in 1896, is in the same room as a Van Gogh. For me, Sogni outshined the other master’s piece.
Moving out of the old masters, I walked into an area that seemed much newer than the rest of the museum. Whereas the old master’s rooms were cluttered, this area was very spacious, with better lighting. Here, you’ll find minimalist and contemporary work. One piece struck me, not only in it’s enormity, but in subject matter as well. Roma (1986), a resin painting by Enzo Cucchi, appears to be a large pickle presented in limited color palette. At first, I was incredibly amused. Upon closer inspection, you can see the reductive drawing of a lily contained within the large phallic shape. Each end of the shape has a small figure; to me, it was reminiscent of a simplified evolution of man: on the left, the figure is shown hunched back, looking over his left shoulder with thick brows and receding chin. The figure on the right stands tall, erect, with no definitive facial features. The distance between the two will never be breeched--as mentioned before, this piece is enormous--it takes up a good portion of wall space.
The artwork displayed in this museum is eclectic: you have a chance to experience not only Italian artists, but various European/modern artwork as well. Works by Klimt, Van Gogh, and Pollack are a few of the non-Italian artists the museum displays. There is an assortment of styles available in this museum, ranging from the late 19th century to today, including realism, impressionism, and abstract. This museum, while seeming out-of-the-way from the regular monuments, is a treat for art lovers, tourists, and artists alike.