Eternity (1923)

Exhibitions: Promotrice (IV Quadriennale), Torino 1923 (Sala VI, n. 188)

Bibliography: Catalogo Promotrice, Torino 1923 (p. 33); E. Ferrettini, “La Stampa”, 1923 (p. 4); “L’Eroica”, 1924 (tav. p. 42); G. Cerrina, “Emporium”, 1926 (p. 242); “L’Eroica”, 1927 (p. 31, tav. XI); V. B., “Progresso del Canavese”,1941; A. Dragone, J. Dragone Conti, 1947 (p. 274); A. M. Comanducci, vol. IV, 1962 (p. 1579); E. Bellini, 1998 (p. 347).

Provenance: Cesare Marangoni collection; donated by the artist to Marangoni

At the end of the 1910s, Turin was caressed by a gentle secessionist breeze. An early sign of this were the protests of some artists, in 1919, fuelled by idealistic reasons related to commercial interests. The protests arose during the annual exhibition of the city’s Promotrice, and continued until 1921, when the dissidents planned an exhibition at the Mole Antonelliana. Seventy artists took part in it, including Mario Reviglione who exhibited some portraits together with a work painted fourteen years earlier, Autumn Eclogue, which the critics (P. Gobetti, E. Sobrero and M. Angeloni) pointed out as a loving revival of the Italian Quattrocento painters. 

So the year Reviglione received the diploma as honorary member of the Accademia Albertina, and six years before Longhi published his famous essay on Piero della Francesca, Turin was already pervaded with classicism.