MILAN.- On Tuesday, May 6 at 5:30 p.m., Tornabuoni Arte will inaugurate “Casorati. Silences and Resonances” at its Milan gallery on Via Fatebenefratelli 34/36. Curated by art historian Anna Maria Amonaci and organized in tandem with the major Felice Casorati retrospective at Palazzo Reale, the exhibition offers visitors an intimate encounter with eleven of Casorati’s defining canvases—each paired with a work by another twentieth-century Italian master.


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Felice Casorati (1883–1963) is celebrated for his evolution from naturalism through Symbolism to a form of “magical realism” marked by rigorous geometry, unusual perspectives, and a luminous stillness. His work—often described as evoking silence and mystery—draws on influences from Gustav Klimt to Piero della Francesca, creating formally precise images that nevertheless feel quietly introspective.

At Tornabuoni Arte, two 1954 paintings by Casorati—Il Mattino (Maternità) and Le Stiratrici—are shown alongside Massimo Campigli’s stately 1952 Female Figures, together reflecting on maternity and domestic ritual. A 1922 Studio for Giovinetta enters into dialogue with Mario Sironi’s mid-century Figures in Red, both artists using silence to express modern humanity’s tragic dimensions. Elsewhere, Casorati’s Donna con le Carte (sullo sfondo di campi) (1954) meets Giorgio de Chirico’s metaphysical Il Trovatore (1968), while a 1952 plaster head draped in red converses with Gino Severini’s 1930s Futurist still lifes.

A suite of seascapes—Barche sulla spiaggia (1930–32) by Casorati, Carlo Carrà’s Marina (1941) and Lake Landscape (1943), Alberto Savinio’s Idillio marino (1944), and René Paresce’s Landscape (1931)—underscores each artist’s poetic relationship to nature. In the still-life gallery, Casorati’s vibrant compositions—Still Life (Apples and Flutes) (1954), Fruit Bowl with Lemons and Eggs (1959), and Fruit Bowl among the Fields (1955)—are paired with works by Paresce, de Chirico, Ardengo Soffici, and Severini, their shared focus on everyday objects creating a palpable sense of quiet.

The final section presents Casorati’s Nudo sul paesaggio (1951) alongside de Chirico’s circa 1923 Female Nude and Felice Carena’s 1930 Back View Nude, highlighting how each artist approached the human form with both sensitivity and formal rigor.

“Tornabuoni Arte’s exhibition not only highlights Casorati’s unique vision but also situates him firmly within the rich tapestry of twentieth-century Italian art,” says curator Anna Maria Amonaci. The show remains on view through June 29, 2025, offering Milanese audiences a rare opportunity to experience Casorati’s quiet power alongside the resonant works of his peers.


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