Artists

Alexander Archipenko, Figure, 1917-1921/1950s. Courtesy of The Archipenko Foundation © Estate of Alexander Archipenko - ARS, NY and DACS, London 2022
EXHIBITION

4 May 2022 - 4 September 2022

An exploration of the relationship between Ukrainian-born American artist Alexander Archipenko (1887-1964) and the masters of Italian modern art.

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EXHIBITION

6 October 2021 - 19 December 2021

In autumn 2021, the Estorick’s entire collection of modern Italian art was on show throughout the museum’s six galleries in a new exhibition, Estorick Collection Uncut.

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EXHIBITION

24 January 2018 - 8 April 2018

The Estorick opened its 20th anniversary year with a major exhibition of works from one of the world’s most important collections of modern Italian art, housed at Milan’s Pinacoteca di Brera.

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EXHIBITION

23 September 2015 - 20 December 2015

This fascinating exhibition presented the findings of a group of specialist art historians, restorers and scientists who examined key works from the Estorick’s permanent collection. Using the most up-to-date methods employed in the analysis of artworks, they shed new light on the different techniques used by a number of painters, and in some cases even revealed the presence of previously unknown images beneath, or on the back of, the Collection’s masterpieces.

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EXHIBITION

16 April 2008 - 15 June 2008

Over a period of sixty years following the Second World War, Vito Merlini (1923-2007) amassed an extraordinary collection of prints whilst working as a doctor in his Tuscan home town of Peccioli. Following his first acquisition – a lithograph by Ardengo Soffici – the collection grew until by the turn of the century it numbered around 1,000 works, comprising prints by both Italian and international artists from de Chirico to Mirò, Guttuso to Sutherland. Towards the end of his life, 279 works from the collection were presented by Merlini to Peccioli, and it is from this donation that the exhibition was drawn.

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EXHIBITION

16 January 2008 - 6 April 2008

Comprising over 120 works by many of the most prominent Italian artists of the Modernist era, the Estorick Collection opened to the public in January 1998. Described by Sir Nicholas Serota as 'one of the finest collections of early 20th century Italian art anywhere in the world', it was formed in the late 1940s and early 1950s by Eric Estorick (1913-93), an American art-dealer, writer and political scientist, and is the only collection in the United Kingdom dedicated to this turbulent and fascinating period of Italian art.

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EXHIBITION

30 September 2004 - 19 December 2004

In the earliest years of the twentieth century the still life genre underwent something of a renaissance. As artists became increasingly concerned with purely formal, pictorial values, it came to be considered a perfect vehicle for experimentation with new aesthetics, free from any complicating narrative dimensions.

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EXHIBITION

10 October 2001 - 20 January 2002

Carlo Carrà (1881-1966) is one of the most important Italian artists and writers on art of the first half of the twentieth century. Carrà was one of the founding painters and propagandists of Italian Futurism in 1910, and his early Futurist work, Leaving the Theatre (1910-11) is in our permanent collection. He also painted in the style of the Metaphysical School along with Giorgio de Chirico and Giorgio Morandi between 1915 and 1919. This exhibition concentrates on Carrà’s drawing, a daily activity and aide-memoire for the artist, which resulted in thousands of works during his lifetime.

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EXHIBITION

26 May 2000 - 17 September 2000

This exhibition represented a rare opportunity to see nineteen paintings by Giorgio Morandi (1890-1964), spanning his career from 1914, his early Futurist phase, up to 1957, together with fourteen works by his contemporaries. They are selected from the collection of Augusto and Francesca Giovanardi, who shared a passion for mid-century Italian painting, particularly still lifes and landscapes.

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EXHIBITION

6 January 1999 - 11 April 1999

This exhibition explored the editorial production of the Futurist movement (1909-1944) through manifestos, magazines, posters, parole-in-liberta and books. The Futurists proclaimed a desire to destroy all libraries in 1909 when, ironically, their literary production would have substantially increased the holdings of any such establishment. They also orchestrated a fundamental renovation of the book in graphic form, just as it faced a treat from the introduction of radio and cinema.

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