Scuola romana or Scuola di via Cavour was a 20th-century art movement defined by a group of painters within Expressionism and active in Rome between 1928 and 1945, and with a second phase in the mid-1950s.
Contraposition to the sensibility of the Return to Order Movement
The spontaneous confluence of artists at the via Cavour studio does not appear to have been led by true and proper programmes or manifestos, but rather by friendship, cultural syntheses and a singular pictorial cohesion. With their firm approach to European expressionism, they formally contraposed the solid and orderly painting of neoclassic character, promoted by the Return to order current in the 1920s, which was particularly strong in the Italian sensibility of post-World War I.
The first identification of this artistic group should be attributed to Roberto Longhi, who wrote:[3]
From its very address, I'd call this the Scuola di via Cavour, where Mafai and Raphaël used to work...
and added:
An eccentric and anarchoid art that could hardly be accepted by us, but it's all the same a notable sign of today's mores.
Longhi used this definition to indicate the special work he perceived these artists to be performing within the expressionist universe, breaking off from official art movements.[4]
Carlo Levi in 1947, as a member of the 2nd season Scuola
During those years, painter Corrado Cagli too used the appellative of Scuola romana.[5] His critique does not linger on name identification for the "nuovi pittori romani (new Roman painters)" animating this new movement. Cagli described a spreading sensitivity and spoke of an Astro di Roma (Roman Star), affirming that was the real poetic basis of the "new Romans" :
In a primordial dawn all has to be reconsidered, and Imagination relives all wonders and trembles for all mysteries.
thus highlighting the complex and articulated Roman situation, as opposed to what Cagli called the imperating Neoclassicism of the Novecento Italiano. The Scuola romana offered a wild painting style, expressive and disorderly, violent and with warm ochre and maroon tones. The formal rigour was replaced by a distinctly expressionist visionariness.[6]
Scipione, for instance, brought to life a sort of Romanbaroqueexpressionism, where often decadent landscapes appear of Rome's historical baroque centre, populated by priests and cardinals, seen with a vigorously expressive and hallucinated eye. Similar themes were present in Raffaele Frumenti's paintings in the second season of the Scuola, with vivid red hues and soft brush strokes.
The Villa Torlonia in Rome hosts, in its classic "Casino Nobile", the renowned Museums of Villa Torlonia,[12] part of the Museum System of the Comune di Roma: on its 2nd floor one can visit the Museum of the Scuola Romana, offering a comprehensive view of this art movement.
^On Mazzacurati, see also his biographical (in Italian) note at Scuola Romana.it
^in L'Italia Letteraria (Literary Italy) of 7 April 1929.
^In the journal L'Italia Letteraria of 14 April 1929, where a concomitance with Marc Chagall is also mentioned.
^Anticipi sulla Scuola di Roma (Anticipations on the School of Rome) on "Quadrante" (I,1933 n.6)
^Cf. Renato Barilli, L'arte contemporanea: da Cézanne alle ultime tendenze, Feltrinelli, 2005, p.248: "... a savage and reductive raffiguration dominates, which recalls distant baroque trends, or even closer to the expressionist furores of artists such as Chagall, made viable to them thanks to Antonietta Raphaël, who had known him in Paris."
