<\/p>\n\n
art exhibitions in May recommended by the rossetti gallery<\/h2>\n\n
\n\nGenoa – Palazzo Bianco<\/strong><\/h3>\n\nNaturalness and truth in the 17th century illustrated by Cornelis de Wael <\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2025\/05\/DE-WAEL-Ospitare-i-pellegrini-Peloso.jpg\")
<\/a><\/figure>\n\nExhibition on the Antwerp painter Cornelis De Wael (1592-1667), the first Flemish master to settle in Genoa with his own workshop.<\/p>\n\n
Considered the first true art dealer in Genoa, Cornelis combined artistic activity with trade, especially in suntuary goods, also working as an agent and intermediary for other artists, merchants and collectors. He understood the potential of the Genoese market, which could offer opportunities for commissioning or selling to a very diverse clientele – from the rich aristocracy to the dynamic bourgeoisie – perfectly suited to the works of a Nordic artist, specialising in small to medium-sized room paintings with everyday and decorative subjects. Works for all wallets, which inaugurated a new fashion in the city for genre scenes, interesting testimonies to the history and customs of Genoa at the time.<\/p>\n\n
Until 22 June 2025<\/strong><\/p>\n\n\nDiscover more<\/a><\/div>\n\n\n<\/div>\n\n
\n\nForl\u00ec – Museo Civico di San Domenico<\/strong><\/h3>\n\nThe portrait of the artist<\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2025\/05\/abramovich-forli.png\")
<\/a><\/figure>\n\nIn the self-portrait, the painter doubles himself in the dual role of model and artist. The eye rests on the reflected image to portray itself and the portrayed image is an alter from itself and is a self. Often a mask emerges. Character rather than person. That is how it is for many artists, from the 17th to the 20th century.<\/p>\n\n
This exhibition, with more than 200 works from public and private collections in Italy and abroad, covers a vast time span: from the mosaics of Antioch and the frescoes of Pompeii to the canvases of De Chirico and the works of Bill Viola and Marina Abramovi\u0107.<\/p>\n\n
Naked or clothed, made-up or disguised, smiling or melancholic, through the image of himself, the artist traces his inner world, the meaning of his art, the uniqueness of his style. For this, it is not necessary to portray oneself entirely, a face or a foot is enough.<\/p>\n\n
Until 29 June 2025<\/strong><\/p>\n\n\nDiscover more<\/a><\/div>\n<\/div>\n\n
\n\nTurin – Fondazione Sandretto Re Rebaudengo<\/strong><\/h3>\n\nTeresa Solar Abboud. Bird Dream Machine<\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2025\/05\/teresa-solar-abboud.jpg\")
<\/a><\/figure>\n\nFollowing a research developed through multiple concepts, Solar Abboud’s practice has evolved from video experimentation to exploring forms and materials through sculpture, resulting in large-scale installations that immerse the viewer in the artist’s narrative process. His work reveals a deep interest in the relationship between matter, language and body production, focusing on the morphology of language and the resistance of language itself. <\/p>\n\n
As the artist describes: \u2018These works are an attempt to inhabit the multiple times of the Earth – its geological age and that of the compressed beings that make it up – as well as the time of human beings, their interferences and instruments of knowledge\u2019.<\/p>\n\n
Until 12 October 2025<\/strong><\/p>\n\n\nDiscover more<\/a><\/div>\n<\/div>\n\n
\n\nFlorence – Museo Novecento<\/strong><\/h3>\n\nMarion Baruch. One step forward many steps back<\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2025\/05\/1_DSC4356_Ph-Leonardo-Morfini-scaled-1.jpg\")
<\/a><\/figure>\n\nA proponent of a free idea of authorship free of constraints and of an art that is always close to life, Baruch has moved with ease between different media, materials and disciplines, from fashion to design and the visual arts, pursuing a unique approach to formalism. Her works are dense with reflections around artistic creation but also social politics: language, work, migration, the border of identity, women, patriarchy, the internet and consumer society.<\/p>\n\n
<\/p>\n\n
Until 8 June 2025<\/strong><\/p>\n\n
Naturalness and truth in the 17th century illustrated by Cornelis de Wael <\/h3>\n\n<\/a><\/figure>\n\nExhibition on the Antwerp painter Cornelis De Wael (1592-1667), the first Flemish master to settle in Genoa with his own workshop.<\/p>\n\n
Considered the first true art dealer in Genoa, Cornelis combined artistic activity with trade, especially in suntuary goods, also working as an agent and intermediary for other artists, merchants and collectors. He understood the potential of the Genoese market, which could offer opportunities for commissioning or selling to a very diverse clientele – from the rich aristocracy to the dynamic bourgeoisie – perfectly suited to the works of a Nordic artist, specialising in small to medium-sized room paintings with everyday and decorative subjects. Works for all wallets, which inaugurated a new fashion in the city for genre scenes, interesting testimonies to the history and customs of Genoa at the time.<\/p>\n\n
Until 22 June 2025<\/strong><\/p>\n\n\nDiscover more<\/a><\/div>\n\n\n<\/div>\n\n
\n\nForl\u00ec – Museo Civico di San Domenico<\/strong><\/h3>\n\nThe portrait of the artist<\/h3>\n\n<\/a><\/figure>\n\nIn the self-portrait, the painter doubles himself in the dual role of model and artist. The eye rests on the reflected image to portray itself and the portrayed image is an alter from itself and is a self. Often a mask emerges. Character rather than person. That is how it is for many artists, from the 17th to the 20th century.<\/p>\n\n
This exhibition, with more than 200 works from public and private collections in Italy and abroad, covers a vast time span: from the mosaics of Antioch and the frescoes of Pompeii to the canvases of De Chirico and the works of Bill Viola and Marina Abramovi\u0107.<\/p>\n\n
Naked or clothed, made-up or disguised, smiling or melancholic, through the image of himself, the artist traces his inner world, the meaning of his art, the uniqueness of his style. For this, it is not necessary to portray oneself entirely, a face or a foot is enough.<\/p>\n\n
Until 29 June 2025<\/strong><\/p>\n\n\nDiscover more<\/a><\/div>\n<\/div>\n\n
\n\nTurin – Fondazione Sandretto Re Rebaudengo<\/strong><\/h3>\n\nTeresa Solar Abboud. Bird Dream Machine<\/h3>\n\n<\/a><\/figure>\n\nFollowing a research developed through multiple concepts, Solar Abboud’s practice has evolved from video experimentation to exploring forms and materials through sculpture, resulting in large-scale installations that immerse the viewer in the artist’s narrative process. His work reveals a deep interest in the relationship between matter, language and body production, focusing on the morphology of language and the resistance of language itself. <\/p>\n\n
As the artist describes: \u2018These works are an attempt to inhabit the multiple times of the Earth – its geological age and that of the compressed beings that make it up – as well as the time of human beings, their interferences and instruments of knowledge\u2019.<\/p>\n\n
Until 12 October 2025<\/strong><\/p>\n\n\nDiscover more<\/a><\/div>\n<\/div>\n\n
\n\nFlorence – Museo Novecento<\/strong><\/h3>\n\nMarion Baruch. One step forward many steps back<\/h3>\n\n<\/a><\/figure>\n\nA proponent of a free idea of authorship free of constraints and of an art that is always close to life, Baruch has moved with ease between different media, materials and disciplines, from fashion to design and the visual arts, pursuing a unique approach to formalism. Her works are dense with reflections around artistic creation but also social politics: language, work, migration, the border of identity, women, patriarchy, the internet and consumer society.<\/p>\n\n
<\/p>\n\n
Until 8 June 2025<\/strong><\/p>\n\n
<\/a><\/figure>\n\nExhibition on the Antwerp painter Cornelis De Wael (1592-1667), the first Flemish master to settle in Genoa with his own workshop.<\/p>\n\n
Considered the first true art dealer in Genoa, Cornelis combined artistic activity with trade, especially in suntuary goods, also working as an agent and intermediary for other artists, merchants and collectors. He understood the potential of the Genoese market, which could offer opportunities for commissioning or selling to a very diverse clientele – from the rich aristocracy to the dynamic bourgeoisie – perfectly suited to the works of a Nordic artist, specialising in small to medium-sized room paintings with everyday and decorative subjects. Works for all wallets, which inaugurated a new fashion in the city for genre scenes, interesting testimonies to the history and customs of Genoa at the time.<\/p>\n\n
Until 22 June 2025<\/strong><\/p>\n\n In the self-portrait, the painter doubles himself in the dual role of model and artist. The eye rests on the reflected image to portray itself and the portrayed image is an alter from itself and is a self. Often a mask emerges. Character rather than person. That is how it is for many artists, from the 17th to the 20th century.<\/p>\n\n This exhibition, with more than 200 works from public and private collections in Italy and abroad, covers a vast time span: from the mosaics of Antioch and the frescoes of Pompeii to the canvases of De Chirico and the works of Bill Viola and Marina Abramovi\u0107.<\/p>\n\n Naked or clothed, made-up or disguised, smiling or melancholic, through the image of himself, the artist traces his inner world, the meaning of his art, the uniqueness of his style. For this, it is not necessary to portray oneself entirely, a face or a foot is enough.<\/p>\n\n Until 29 June 2025<\/strong><\/p>\n\n Following a research developed through multiple concepts, Solar Abboud’s practice has evolved from video experimentation to exploring forms and materials through sculpture, resulting in large-scale installations that immerse the viewer in the artist’s narrative process. His work reveals a deep interest in the relationship between matter, language and body production, focusing on the morphology of language and the resistance of language itself. <\/p>\n\n As the artist describes: \u2018These works are an attempt to inhabit the multiple times of the Earth – its geological age and that of the compressed beings that make it up – as well as the time of human beings, their interferences and instruments of knowledge\u2019.<\/p>\n\n Until 12 October 2025<\/strong><\/p>\n\n A proponent of a free idea of authorship free of constraints and of an art that is always close to life, Baruch has moved with ease between different media, materials and disciplines, from fashion to design and the visual arts, pursuing a unique approach to formalism. Her works are dense with reflections around artistic creation but also social politics: language, work, migration, the border of identity, women, patriarchy, the internet and consumer society.<\/p>\n\n <\/p>\n\n Until 8 June 2025<\/strong><\/p>\n\n
\n\nForl\u00ec – Museo Civico di San Domenico<\/strong><\/h3>\n\n
The portrait of the artist<\/h3>\n\n
<\/a><\/figure>\n\n
\n\nTurin – Fondazione Sandretto Re Rebaudengo<\/strong><\/h3>\n\n
Teresa Solar Abboud. Bird Dream Machine<\/h3>\n\n
<\/a><\/figure>\n\n
\n\nFlorence – Museo Novecento<\/strong><\/h3>\n\n
Marion Baruch. One step forward many steps back<\/h3>\n\n
<\/a><\/figure>\n\n
![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2025\/05\/9791255541080_0_0_536_0_75-410x649.jpg\")
<\/a><\/figure>\n\n