Villa Zito
The collections of paintings and graphic works of Foundation exposed to Sicily Villa Zito are the result of artistic heritage recovery of the old Banco di Sicilia, distributed in Italian and foreign branches of the credit institution.
To these have been added, from the heritage of the former Cassa di Risparmio Vittorio Emanuele per le Sicilian Provinces. It is, therefore, a "treasure chest" of works of art collected over time from major banks and strengthened by successive private donations.
The new order aims to offer collections-through ten sections-an excursus about four centuries of art from the 17th century to the twentieth century.
The exhibition opens on the first floor, with the painting of the seventeenth century which contains important testimonies, among which we cite paintings by Mattia Preti, Bernardo Strozzi, Luca Giordano, Salvator Rosa. The landscape painting of the late seventeenth century closes the section dedicated to the ancient art and the 18th-century landscape painting prelude.
The nineteenth century, introduced by the works of Francesco Zerilli, is represented by the protagonists of the great landscape painting in Sicily, (Francesco Lojacono, Antonino Leto, Michele Carpenter) and the recovery of some interesting paintings such as the ruins of Solunto di Pietro, Volpes presented at the national exhibition of 1891 "monumental Sicily", Christmas economic Kitchens Attanasio and Idyll of Vincenzo Caprile.
A group of extraordinary importance, within the collections of the Foundation is constituted by the donation of works by Ettore De Maria Bergler, commissioned by the heirs and enriched with the contribution of some paintings from the collections of the former Sicilcassa.
Multi-talented author, De Maria impresses the versatility with which engages in different fields from painting portraits, to decorating, landscape painting.
An interesting series of paintings of Salvatore Marchesi dedicated to the study of ancient monuments of Palermo, and Arab, Norman, Baroque Catalan.
The passage between the nineteenth and twentieth centuries is witnessed, in rooms on the second floor, from the painting by Galileo Chini entitled Buddhist temple in Bangkok, exhibited for the first time at the Venice Biennale of 1914, and extraordinary Harmonies of thirds, vespertine Aleardo presenting-in a pointillist language devoid of any nature allusion-the theme of female figure, modern Idol of the Belle Epoque.
On the second floor are paintings of Alesi Cuccio Canonayon and 20th-century collections, offering the possibility to penetrate into the cultural situation of the polyphonic era.
There are the great protagonists of the first half of the century, Mario Sironi, Filippo De Pisis, Ottone Rosai, Carlo Carrà, Arturo Tosi, Ugo Attardi, represented with post-war works that testify to a developing artistic exhaustion, but no less worthy of attention.
The concerns of the so-called Roman school characterize the remarkable series of paintings of Fausto Pirandello, divided between the Beginnings of Rome myth, the rooftops of Rome, still life, mint and lemon.
With regard to the experience in Sicily, the scene is dominated by the presence of Renato Guttuso, which CITES eruption of Mount Etna, created following the terrible eruption of the volcano of 1983, where the landscape looks like transfigured into a sort of hellish vision. Opera is a distinguished antecedent in the Awakening of Etna painted in ' 34 by Pippo Rizzo and exposed to the Quadrennial National Art II the next year in Rome. A different stylistic register is present in still life of 1959, expressionistic portrait of Kafka in ' 63 and football players, where the dynamic energy that permeates the painting refers to research by Degas or Max Beckmann.
A testimony in itself is formed by the presence of an artwork of Mario Schifano, exhibited on the ground floor. A new generation of artists, designed to radically change the concept of art for new expressive forms, underlining in water Lilies the author translates symbolically-with an impassioned reading in a pop-the popular cycle of Monet's water lilies.
On the ground floor, in a space specifically designed to expose the rich collection, are the works of Pippo Rizzo, donated by his daughter Dawn.
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