The Sculptures

The enormous architectural spaces of this rationalist building create a perfect setting to exhibit sculptures. Such is the case with "Caduti" by Rainaldi, who usually sculpts basic, isolated figures that recall archaic forms of art.

In “Popolana in riva al mare”, Venanzo Crocetti recalls in a melancholy manner his childhood memories. 

Maria Dompé's work is a dialogue between two worlds: the noble world shining in marble slabs, and the humble world caught in the fishing nets. The encounter takes place in “Mare nostrum”, a metaphor for the Mediterranean Sea that is also home to fishermen and travellers.

For example, the Etruscan art was fundamental to Marino Marini’s creations, such as "Cavallo" or "Pomona".

Etruscan art, as well as fifteen-century sculpture, inspires Arturo Martini in creating the work "L’amante morta", which was originally part of a triptych.

By rejecting the concept of sculpture as material weight and solid mass, Carlo Lorenzetti creates works with simple metal plates. In the work "Alato", for instance, a light wing, covered by a thin layer of graphite, frees itself into the space.

Among the sculptures exhibited in the Farnesina Collection, "Grande Ghibellina II" is a polished bronze vertical wave realized by Giò Pomodoro, characterized by a sophisticated interplay of solids.