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Maggiore sponsors "Guttuso 1912 - 2012"

Thursday, 11 October 2012

Rome, the city in which Renato Guttuso established the nodal centre of his relationships and where he lived for over fifty years, celebrates the great artist, on the occasion of the centenary of his birth, with the major exhibition "Guttuso. 1912-2012", hosted in the prestigious setting of the Complesso del Vittoriano from 12 October 2012 to 10 February 2013. One hundred paintings, chosen to represent the entire creative span of the Sicilian master’s artistic activity, document the painter’s different moments of expression and constitute the first major anthological exhibition dedicated to him by the city. Always a staunch supporter of socio-cultural issues in our country, the Maggiore Group is, once more, one of the main sponsors of this prestigious event.

"Support for the art world and, in particular, the prestigious exhibitions hosted in the Complesso del Vittoriano, has entered wholly into the company’s value chain," says Vittorio Maggiore, President of the Group, “and now represents an unquestionable commitment that we have been keeping up for years with pride and conviction. Our constant presence in this area”, Maggiore continues, “even in an objectively critical context, like the present situation in our country, clearly reflects the sensitivity of a company like ours, proud to be Italian and founded on solid, boundless ethical values, like the dissemination of the cultural heritage that they transmit".

Thanks to the extensive research accomplished by the Archivi Guttuso, the works were chosen from those present in the most important Italian and foreign museums, as well as from the most important private collections. Also on display, are the works that the master had kept for himself, in his private collection, ranging from the small boards on which he, very precociously, took his first steps in the world of painting, to the large paintings, like The Escape from Etna, The Crucifixion, The Funeral of Togliatti, The Caffè Greco, The Vucciria and the beautiful still life paintings that, in the 1940s, seemed to predict the tragedy of war and catastrophe.