New trends Leonardo Dudreville and the avant-garde in the 1910s (final week)

An exhibition that tells the work of the artist Leonardo Dudreville and the activity of the New Trends group which, alongside Futurism, helped to change the aesthetics of the early twentieth century

October 15, 2022 – January 8, 2023
Ragghianti Foundation Monumental complex of San Micheletto

Via San Micheletto 3, Lucca

http://www.fondazioneragghianti.it

“I have fixed and created graphically the synthesis of the state of mind determined in me in contact with my psychic, internal individuality, with the external life-environment that surrounds me ”. (Leonardo Dudreville) Not just Futurism.

At the beginning of the twentieth century, many artistic realities were looking for a new aesthetic and, among these, the New Trends group founded in Milan in 1913 by the critic Ugo Nebbia and by the artist Leonardo Dudreville, to which the Ragghianti Foundation has been dedicating since 15 October 2022 to ” January 8, 2023 the exhibition

NEW TRENDS. Leonardo Dudreville and the avant-garde in the 1910s, curated by Francesco Parisi. Interested in musical issues and relating to moods, the New Trends movement has many similarities with secessionist groups on a European scale, and is characterized by absolute experimental freedom.

The exhibition offers a reading within the context of the international avant-gardes and Italian “frond shows”, freeing New Trends from the para-futurist label, although it has many connections with the Marinetti movement, especially communicative.

Thanks to materials from the Leonardo Dudreville Archive in Monza and from various private and public collections, NEW TRENDS. Leonardo Dudreville and the avant-garde in the 1910s analyzes the artistic context in which New Trends are formed, investigating some moments of the artistic adventure of Leonardo Dudreville (Venice, 1885 – Ghiffa, Verbano-Cusio-Ossola, 1976), starting from his visit with Umberto Boccioni at the studio of Vittore Grubicy, up to the forays into the pointillist technique, and exhibiting a corpus of works produced between 1904 and 1919.

The exhibition opens with a section dedicated to the developments of Divisionism in the first decade of the twentieth century, in which Dudreville’s works demonstrate an unprecedented openness to expressive and formal values ​​that point to an autonomous use of the pictorial sign, of light, of color. The path then continues with a part dedicated to Dudreville’s relations with the Futurist team and with other artists.