ROME.- The Galleria d’Arte Moderna in Rome has opened a comprehensive retrospective of the work of Nino Bertoletti (1889-1971), an artist whose extraordinary versatility and reserved nature have kept him somewhat in the shadows of early 20th-century Italian art history. The exhibition, titled Nino Bertoletti. 1889-1971, which opened on April 11 and will run through September 14, 2025, showcases over forty works, many of which are being displayed to the public for the very first time.
More than just a painter, Bertoletti was a true intellectual of his time, actively engaging as an illustrator, collector, art dealer, and journalist. He moved within the circles of both the avant-garde and neoclassical movements, forging friendships with prominent artists like Giorgio de Chirico, Cipriano Efisio Oppo, and Fausto Pirandello, as well as literary giants such as Luigi Pirandello and Massimo Bontempelli. His connections extended to influential art critics like Roberto Longhi and Lionello Venturi, placing him firmly within the vibrant cultural landscape of early 20th-century Italy.
Despite his significant presence within these artistic and intellectual spheres, Bertoletti's profile has remained somewhat elusive. Unlike many of his contemporaries who actively sought the limelight, Bertoletti possessed a reserved demeanor, leading him to occasionally withdraw from exhibition opportunities. This penchant for privacy, coupled with a dedication to a more understated artistic approach, has contributed to his relative obscurity until now.
Curated by Pier Paolo Pancotto, the retrospective at the Galleria d’Arte Moderna aims to address this artistic and intellectual complexity, offering a comprehensive look at Bertoletti's multifaceted career. Promoted by Roma Capitale and in collaboration with the Nino and Pasquarosa Bertoletti Archive, the exhibition guides visitors through the artist's entire production, featuring paintings, drawings, and illustrations created between 1902 and the late 1960s. Adding a unique dimension to the show is the inclusion of rare film footage, offering a glimpse of Bertoletti himself nearly a century after it was recorded. The chronological arrangement of the works seeks to illuminate the richness of a production that the artist, by nature, largely kept hidden, and much of which has been lost over time.
The exhibition draws heavily from the Nino and Pasquarosa Bertoletti Archive, as well as private collections and prominent museums including the Galleria d’Arte Moderna itself, the Musei di Villa Torlonia, the Museo di Roma Palazzo Braschi, and the Galleria Nazionale d’Arte Moderna e Contemporanea. These works reveal the profound influence of Bertoletti's extensive travels to museums and exhibitions across Europe, his passionate study of past masters like Goya, Courbet, Velázquez, Géricault, Cézanne, and Degas, and his connection to contemporary artists such as Armando Spadini. His intellectual curiosity extended beyond the visual arts, as evidenced by his carefully curated library featuring volumes in French, German, English, and Italian.
According to curator Pier Paolo Pancotto, Bertoletti's artistic journey saw him transition from an initial expressionistic phase towards a more structured and organic approach to composition. This evolution, marked by a "neoclassical" shift around the 1923 Roman Biennale, eventually settled into a more cautious realism, often imbued with a "magical" quality. This later style was also influenced by ancient figurative culture, a fascination Bertoletti actively cultivated through his extensive reading, museum visits, and direct engagement with the works of great masters, some of which he collected himself. His extensive travels throughout Europe, including significant trips to France and Spain in 1925 and Spain, Portugal, and Switzerland in 1939, further shaped his artistic vision. Even an early "formative" trip to Germany in 1906, initially intended for professional apprenticeship, broadened his understanding of language and culture, potentially solidifying his artistic calling.
The exhibition's layout reflects this artistic progression, with early works from the 1910s to the 1930s occupying the initial galleries, showcasing his involvement with the Secession movement and his repeated participation in the Venice Biennale and the Rome Quadriennale. This period also saw Bertoletti's involvement in organizing institutional events, including architectural proposals for Via della Conciliazione and contributions to the decoration of the EUR district in Rome. The later galleries focus on his post-World War II production, revealing his mature style of almost magical realism, deeply informed by his ongoing study of ancient figurative art.
A significant portion of the exhibition is dedicated to Bertoletti's graphic work and illustrations, an area of his artistic output that has received limited scholarly attention until now. This section provides a more complete picture of his creative endeavors, showcasing his versatility across different mediums.
Beyond his own artistic pursuits, Bertoletti's career unfolded alongside that of his wife, Pasquarosa (1896-1973), a notable painter in her own right. They shared a deep connection, traveling and engaging in cultural experiences together, fueled by a mutual love for creative expression. Pasquarosa served as Bertoletti's eternal muse, appearing frequently in his work, from portraits of her as a teenager and young mother to later depictions of her as an older woman, capturing her beauty as seen through the lens of his affection.
The exhibition Nino Bertoletti. 1889-1971 at the Galleria d’Arte Moderna in Rome aims to restore visibility to an artist whose intellectual polyhedricity was a defining characteristic of his work. By tracing his engagement in painting, graphic arts, architecture, journalism, and public life, the exhibition presents Bertoletti as an original and representative figure of the Italian cultural scene in the years leading up to the Second World War, a time when versatility and multifaceted talent were highly valued.
The exhibition is accompanied by a comprehensive catalog published by Dario Cimorelli Editore, featuring essays by prominent scholars that delve into Bertoletti's work across various disciplines, highlighting his innovative role as a comprehensive cultural figure. The exhibition is a collaborative effort involving Roma Capitale, the Capitoline Superintendence for Cultural Heritage, and the Nino and Pasquarosa Bertoletti Archive, curated by Pier Paolo Pancotto, with museum services provided by Zètema Progetto Cultura and the support of various sponsors. This long-awaited retrospective has now opened its doors, promising to reintroduce Nino Bertoletti to a contemporary audience and celebrate his significant contributions to Italian art and culture.
