The fact that Romagna hosts an artistic and cultural event dedicated to Art Nouveau does not surprise, considering the significant stylistic contribution that the territory has been able to give both nationally and internationally between the end of the 19th century and the beginning of the 20th century.
This was the golden era in which the first tourist flows appeared in Riviera and the many commissions brought to the whole region, among the most active Art-Nouveau Italian workshops, a strong presence of designers and artists.
What, instead, surprises in the exhibition held until June 15 at the Museums of San Domenico in Forlì, “Liberty. Uno stile per l’Italia moderna” (Art Nouveau. A style for modern Italy), is the extent of its transverse content which is not restricted to aesthetics but also shows, in a much broader and comprehensive sense, the climate of renewal and revolution which spread everywhere during the so-called Belle Époque. The rich exhibition itinerary in Forlì becomes - through a series of parallels among art, music, theatre and literature – a significant and concrete expression of Art Nouveau as cultural movement, son of the progress that pervaded the Italian and European atmosphere at the turn of those two centuries, trying to mark the distance from the past and take the direction of modernity.
Through this concept made of matching and continuous comparisons among places, performers and artistic languages, the exhibition illustrates the major themes of those decades, so confident and yet so restless, and this is the way how it tells and reveals the dream of a new world, destined to end shortly with the outbreak of the First World War.
Great symbols of Art Nouveau were the female figure, main character of painting and sculpture as image of pleasure and freedom, and the soft and sinuous line which inspired the so-called floral revolution that pervaded visual and decorative arts as expressive sign of change. And this great ferment, in fact, is the main protagonist inside the Musei Dominicani, where there is an ideal heterogeneous and structured dialogue among furniture and paintings, textiles and wrought irons, paintings and potteries, decorative art and literature, in a exhibition made of relations and comparisons. According to this criterion, Boccioni’s posters are juxtaposed with those of Dudovich, Issen’s decorative objects with those of Basile and Fontana, Bellotto’s wrought irons with those of Mazzucotelli, the paintings of Casorati, Kienerk and Segatini with the sculptures of Trentacoste and Baccarini, just to name a few, in a continuous contamination that also passes through the great literature of D'Annunzio, Pascoli, Wild and Proust and the great music of Puccini and Mascagni.