Museo Crocetti by Museo CrocettiFoundation Venanzo Crocetti
A large and elegant space that rises in the same place where the Master lived and had his studio. The permanent exhibition, arranged in five rooms, houses the works created by the sculptor over a period of over seventy years of creative activity.
The Hall of the Sacred Universal
The Sacraments’ Door for the Basilica of Saint Peter in Rome has been an undertaking that occupied the artistic activity of Venanzo Crocetti for almost twenty years (1947-1965).
The Young Knight of Peace (1987) by Venanzo CrocettiFoundation Venanzo Crocetti
The Knight of Peace is one of the subjects most crossed by Venanzo Crocetti, almost as a seal of an entire artist’s life, concluded in a universal message full of perfect joy, conciliatory harmony.
The Hall of
Movement and Fury
The results adopted by Crocetti in the tests dedicated to tragic figuration were impetuous.
The Hall of Movement and Fury by Museo CrocettiFoundation Venanzo Crocetti
In Crocetti, the fascination with motion translates into sculptural tests dedicated to pain, to ancient crying as can be seen in Rats, Earthquakes and throughout the whole corpus of the Magdalene.
Fight of Horses (1940) by Venanzo CrocettiFoundation Venanzo Crocetti
The groups of animals have always aroused the interest of the artist: in the act of breathing or dropping, crumpled and nervous, while fighting or eating a prey.
The hall of the Elegantiae
The majority of the subjects are swimmers, models, figures of silence and expectation, dancers in position or in the act of tying a shoe, icons of an almost unapproachable pride.
Sitting Girl (1946) by Venanzo CrocettiFoundation Venanzo Crocetti
The hall of the Ruralia
Faithful to a rough land, Crocetti represents vivacious calves, mighty cows, the rooster, the golden goose... We seem to see them alive.
The hall of the Fluvialia
His masterpieces stand out: Girl at the river (1934),
I Pescatori di Crocetti by Venanzo CrocettiFoundation Venanzo Crocetti
Il Pescatorello (The Young Fisherman) (1935), one of the most mature points of the artist’s entire lexicon.
The Hall of Heads
Children, maidens, old men, soldiers - countless busts or individual heads, an entire gallery of calm faces, full of affection.
In the basement of the museum, Crocetti wanted a chapel with bronze decorations and "unfinished" white marble for the preservation of his ashes.