MILANO - L.O.V.E. - Museo del Novecento - Galleria Vittorio Emmanuele II


The Museo del Novecento, located inside the Palazzo dell’Arengario in Piazza del Duomo, hosts a collection of over four thousand works that catalyze the development of 20th century Italian art.  
& L.O.V.E. sculpture from Artist Maurizio Cattelan, most mischievous son. 

L.O.V.E. Artist Maurizio Cattelan is perhaps Milan's most mischievous son. In 2010, he unveiled a sculpture of a 4m-tall hand, beautifully carved in classical Carraca marble, with only the middle finger remaining. Cattelan has called it a commentary on the fascist salute and a criticism of totalitarianism, and it is placed right in front of the stock exchangein the 1932 Palazzo Mezzanotte. Just as Wall Street's charging bull is a symbol of the optimism of its era, the sculpture has come to embody negativity towards the establishment, but it is not clear whether the gesture is directed at the bankers or it symbolises the industry's wider message to the world. Its official title, L.O.V.E., is an acronym in Italian for freedom, hate, revenge, eternity - locals simply refers to it as Il Dito (The Finger). Piazza Affari. 
The Museo del Novecento was established on 6 December 2010 with the goal of spreading knowledge of 20th century art and offering a more comprehensive insight into the collections that the city of Milan has inherited over time. Beside its core exhibition activity, the Museum is active in the conservation, investigation and promotion of 20th century Italian cultural and artistic heritage with the final aim of reaching an ever wider audience.

With an eye toward the city, the Museo del Novecento develops around multiple locations. The Permanent Collection follows a chronological path where collective exhibitions alternate with solo art shows. The grand spiral staircase inside the building welcomes visitors and introduces them to the visit of the Museum with the Il Quarto Stato (The Fourth Estate) by Pellizza da Volpedo. The bookshop and the restaurant are the Museum’s meeting places. The Neon by Lucio Fontana represents a final embrace to the city. Reflecting Milan’s feverish cultural dynamism, the Permanent Collection is essentially the story of several private collections that have been brought together thanks to the generosity and passion for art of many private collectors. Since its inception, the collection has been augmented by major gifts from artists, collectors and philanthropists who play an active role in the growth of the Museum’s heritage, which today reflects the rich trajectory of art from the early 20th century through the present. 
The Collection then begins with a tribute paid to international avant-garde movements, with paintings from the early 1900’s by Pablo Picasso, Georges Braque, Paul Klee, Kandinsky, and Amedeo Modigliani. The exhibition continues with Futurism, represented by a nucleus of artwork unique the world over, displaying Umberto Boccioni, Giacomo Balla, Fortunato Depero, Gino Severini, Carlo Carrà, and Ardengo Soffici. The Twenties and Thirties, moving between the Novecento movement and Abstract Art, develop through a sequence of solo art show ‘islands’ devoted to Giorgio de Chirico, Giorgio Morandi, Arturo Martini, and Fausto Menotti. Giorgio Morandi - Nature Morte Arturo Martini - Torso di giovanetto & Giorgio de Chirico - Autunno Arturo Martini - La convalescente Felice Casorati - Manichini (Natura morta con manichini) - & Mario Sironi - I costruttori (Composizione) Arturo Martini - I morti di Bligny trasalirebbero Mario Sironi - Cariatide  Lucio Fontana - Signorina seduta (Donna allo specchio) Lucio Fontana - Busto femminile  Marino Marini - Rittrato di Lucosius  Lucio Fontana - Uomini a cavallo (Composizione)  The top floor of the Palazzo dell’Arengario is devoted entirely to Lucio Fontana. The Fontana Hall was designed as an environmental immersion work. The protagonists are the landmark Ceiling from 1956, initially created for the dining room of the Hotel del Golfo on the Island of Elba and granted by the Ministry of Cultural Heritage and Activities; the Neon owned by the Fondazione Fontana; and the Spatial Concepts from the 1950’s. Lucio Fontana - Concetto spatial


On the third floor is a hall devoted to Alberto Burri and Art Informel by major Italian masters: Emilio Vedova, Giuseppe Capogrossi, Gastone Novelli, Tancredi, Carla Accardi, and Osvaldo Licini. The exhibition devoted to the Fifties and Sixties displays artwork by Piero Manzoni and the artists from the Azimuth group, from Enrico Castellani to Agostino Bonalumi. 
Emilio Vedova - Sopraffazione n.1
 Francesco Somaini -  Verticale III Assalonne
 Giulio Turcato - La bava
 Toti Scialoja - Murale n.3
 Salvatore Scarpitta - Composizione (Extramural n.5)
Walking on the suspended footbridge that connects the Museum to Palazzo Reale, visitors access the final section. 
Collezione Marino Marini - 






The final section focusing on the Sixties and the experiments of Kinetic and Programmed Art, beginning with the sculpture by Bruno Munari entitled “AconaBicombì”.
Galleria Vittorio Emmanuele II - The Galleria Vittorio Emanuele II is one of the world's oldest shopping malls. Housed within a four-story double arcade in central Milanthe Galleria is named after Victor Emmanuel II, the first king of the Kingdom of Italy. It was designed in 1861 and built by Giuseppe Mengoni between 1865 and 1877.