22 October 2005 - 20 January 2006 | Brescia, Museo di Santa Giulia
curated by Fabrizio d’Amico
Just where the public could enjoy the last winter the works of the "school of Via Cavour", will be showcasing the paintings of Richard Francalancia that already in 1930, the second exhibition of the Union of Fascist Laziale of Fine Arts, were exposed together with those of Mario Mafai and Scipio. The same Longhi, in fact, in his famous article in which for the first time uses the term "school in Via Cavour," common Richard Francalancia colleagues Romans calling unrealistic.Thirty-six works are exhibited in Brescia, ranging from early paintings of 1919 (branches in the sun), and then over a full twenty years to get to work in 1939 (The New Church). In the exhibition, special attention was dedicated to Fabrizio D'Amico, curator of the exhibition, the unfolding of the twenties, the crucial period of the entire artistic production. Riccardo Francalancia was born in Assisi in 1886, but soon went to Rome to join the faculty of political science and colonial, where he graduated and is safe to use with Credit Italian. However the attendance of Coffee Aragno, where he meets the most important artists and intellectuals of the city, to let emerge the artistic vocation. As early as 1922, or the beginning of '23, the Assisi abandons his career in banking to devote himself entirely to art. The climate of Coffee Aragno, and in particular the association with Broglio, led him to exhibit for the first time, again in 1921, alongside artists "Plastic Values" (Das Junge Italien, traveling exhibition in Berlin, Hannover, Dresden and perhaps Leipzig). Despite the link with the artists of "Plastic Values", Francalancia still retains a position of tangency without bond, throughout his life, for any movement. True self, Francalancia paints without the mediation of academic precepts.Hence the cliché, the plaintiff in critical and existing Broglio, an artist's "naive", sincere and pious joined with the Customs officer, Henri Rousseau. As demonstrated clearly Fabrizio D'Amico in his essay "Richard Francalancia, the mysterious Assisi," published in the exhibition catalog, it is actually a primitivism "that reverberates throughout the first decade of painting Francalancia", but enriched with other suggestions that are flanked by little initial vocation.