In a celebration of cultural heritage and artistic legacy, the Centro Studi Osvaldo Licini, the Municipality of Monte Vidon Corrado, and the Fondazione Cassa di Risparmio di Jesi are set to unveil the exhibition Renato Paresce and Les Italiens de Paris. Curated by the insightful Stefano De Rosa, this exhibition promises to be a captivating exploration of the life and works of Renato Paresce, alongside the vibrant community of Italian artists who flourished in Paris during the early 20th century.
The exhibition will take place in two significant venues: Casa Museo Osvaldo Licini, Monte Vidon Corrado (FM): March 2 – May 4, 2025 and Palazzo Bisaccioni, Jesi (AN): May 16 – September 14, 2025. This dual-location showcase reflects the deep cultural roots of the Marche region and its commitment to preserving and promoting artistic expression.
The connection between Osvaldo Licini and Renato Paresce is a tale woven into the fabric of Parisian art history. Both artists navigated the dynamic and often tumultuous artistic landscape of Paris in the early 1900s. Although they never met, their paths crossed in the collective exhibition Les artistes italiens de Paris in 1928 at the Salon de l’Escalier, where their works were displayed alongside those of luminaries such as Giorgio De Chirico, Alberto Savinio, and Gino Severini. This exhibition marked a pivotal moment for Italian artists in Paris, establishing a legacy that would resonate through subsequent decades.
The upcoming exhibition will feature around 30 meticulously selected works by Paresce from a private collection in the Marche region, complemented by a section dedicated to other Italiens de Paris. This curated journey will trace Paresce’s artistic evolution from 1913 to 1931, highlighting his transition from post-impressionism to a distinctive personal style that encapsulated the spirit of his time.
Renato Paresce (1886-1937) was a man of many talents and a life rich in cultural experiences. Born in Carouge, Switzerland, to a politically active Sicilian father and a Russian mother, Paresce’s upbringing was steeped in diverse influences. His education was marked by travels across Europe and a formative period in cosmopolitan Florence, where he cultivated his intellectual curiosity.
After marrying the Russian Jewish pianist Ella Klatchko in 1912, Paresce moved to Paris, where he immersed himself in the city’s vibrant artistic milieu. Frequenting renowned cafés such as the Dôme and La Rotonde, he mingled with influential figures like Pablo Picasso and Amedeo Modigliani. His artistic journey was interrupted by World War I, during which he relocated to London, only to return to Paris in 1927.
In the late 1920s, Italian cultural institutions began to recognize the contributions of Italian artists in exile, including Paresce. He was invited to participate in exhibitions of the Novecento group and played a significant role in organizing a room dedicated to the Ecole de Paris at the 1928 Venice Biennale.
The exhibition opens with Il barcone (1913), marking Paresce’s debut in Paris and showcasing his fascination with impressionist techniques. This work is complemented by Le Moulin de la Galette, which reflects a constructive approach to form. The 1917 landscapes reveal a Fauvist influence, while La veduta di Parigi (1918) stands as a testament to his artistic peak during the 1910s.
While Paresce did not extensively pursue portraiture, the exhibition features two notable examples: a Cézannian portrait from 1915 and Portrait Fauve (1918). The second decade of the 1900s is particularly well represented, illustrating his departure from Fauvism and his engagement with Cubism, culminating in a unique poetic vision.
The exhibition also includes seven still lifes and two landscapes that highlight the dialogue between modernity and tradition. A gouache from 1928 signals a new phase in Paresce’s career, coinciding with his participation in the Venice Biennale and exhibitions with the Italiens de Paris group.
As the exhibition progresses, visitors will encounter Composizione con statua (1930), characterized by ethereal atmospheres and a chalky surface reminiscent of frescoes. The journey concludes with the enchanting seascape La Comète (1931), a work imbued with mystery and magic.
In addition to Paresce’s works, the exhibition will showcase pieces by other Italiens de Paris, including De Chirico’s striking Ritratto di signora (1921), Gino Severini’s Ritratto di Marina Severini (late 1930s), and De Pisis’s Capriccio metafisico (1918-20).