Bet­ween Milan and Malo­ja — the signi­fi­can­ce of light and shadow in the work of the young rea­list and the matu­re sym­bo­list Segantini

From May 2024 to April 2025, the ‘Che­sas da cul­tu­ra Engia­di­na’ asso­cia­ti­on is sta­ging a one year group exhi­bi­ti­on invol­ving 14 Upper Enga­din cul­tu­ral insti­tu­ti­ons (muse­ums, artists’ stu­di­os, libra­ries and archi­ves). The indi­vi­du­al insti­tu­ti­ons, which spe­cia­li­se main­ly in the field of art and cul­tu­ral histo­ry, will each pre­sent the over­all the­me of the exhi­bi­ti­on, ‘Sple­ndur e sum­bri­va — light and shadow in the Enga­din’, in a spe­ci­fic way accord­ing to their specialisation.

Gio­van­ni Segan­ti­ni (1858–1899) is famous as a pain­ter of moun­tain land­s­capes and in par­ti­cu­lar as an evo­ker of inten­se Alpi­ne light. Less well known is the fact that his inte­rest, inde­ed his pas­si­on, for expe­ri­men­ting with light effects and phe­no­me­na is alrea­dy evi­dent in his ear­liest works and ser­ves as a com­mon thread throughout his oeuvre.

Part of the sum­mer exhi­bi­ti­on at the Segan­ti­ni Muse­um is the­re­fo­re dedi­ca­ted to a group of ear­ly works, rare­ly exhi­bi­ted and the­re­fo­re litt­le known, crea­ted from 1879 to 1881, which depict both lumin­ous views of the Milan of the Navigli and evo­ca­ti­ve dark inte­riors, such as the Anter­oom of the Con­vent (1880) or The Choir of the Church of Sant’Antonio in Milan (1879).