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History of the Collection
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The Collection
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First Part

Second Part

Mario Rimoldi
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Documents
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The Collection - Second part
foto In the years after the war, the extraordinary opportunities started to appear offered by the Venice Biennial, which prompted Rimoldi to visit the first large exhibitions of modern art, with frequent trips to Paris. This way he discovered the historical avant-gardes and, to give a broader image of the artistic world, his collection was enlarged with experimental works of artists already represented with figurative paintings, such as Severini, Sironi, Soldati, Savinio.

Meanwhile, the art patron began collecting the leading names of the early 20th century, including Campigli, Carrà, de Chirico, de Pisis, Guidi, Morandi, Rosai, Severini, Sironi and Tosi and also took an interest in artists tied to the figurative school, promoted not least because of their ties with the Veneto milieu - Cadorin, Cesetti, Saetti, Tomea, Depero.
Interest was however also shown for new movements taking shape outside Veneto: new additions to the collection are Guttuso's La Zolfara (a painting for which R. refused offers from the Hermitage at Leningrad) and the protagonists of new experimentation, such as Corpora, Crippa, Dova, Morlotti, Music, Santomaso, Vedova.
Rimoldi also discovered new foreign artists such as Kokoschka, Leger, Villon, Zadkine, and was starting to take an interest in the new avant-garde and the abstract artists of the Fifties, with the aim of creating a complete American-type collection of the major artists of his age. That he had made the right decision was confirmed by the fact that English and US galleries were making high bids to purchase his works. Becoming part of the collection was virtually a sign of official recognition for artists.

Following in the footsteps of leading European collectors, untiring creators of public galleries, the intention to tie the collection to Cortina and keep it together in a public gallery, became increasingly evident. One of the last things Rimoldi did in fact was to donate the very best works in his collection to the Regole d'Ampezzo (this became executive in 1974, through his widow Rosa Braun).
Thus a gallery was set up that would be the pride of any large city: the collection is in fact considered one of the foremost expressions of 20th-cent. Italian painting. Among the major works of modern painting in Italy, besides 54 works by de Pisis, stand out: The Bagnanti by Carena, the Squero di San Travaso by Semeghini, the Zolfara by Guttuso, the San Sebastiano by Garbari, the Ile des charmes di Savinio and the Concerto by Campigli.

During the years that followed, the museum was endowed with numerous other donations, such as nearly 100 works of Alis Cabessa Levi.
Well-known artists have donated their creations: Music, Gard, Madiai, De Stefano, Gonzales, Seppi, Barbarigo.

The “Mario Rimoldi” Museum is therefore a living entity to which the Regole give special attention, not only to safeguard, but also to valorise what is an extremely precious heritage.

First part