One of the very first exhibitions of the Marchetti gallery, in 1998, is dedicated to Sergio Lombardo – leading exponent of the so-called “Scuola di Piazza del Popolo” – who will return to exhibit here in the personal exhibitions of 2002 and 2005, and in numerous group exhibitions, where his works often appear alongside those of friends and colleagues Renato Mambor and Cesare Tacchi, also well-known members of the group. The works in the collection and the exhibition program of the Marchetti Gallery reveal a particular interest in that movement and for the years in which it had established itself.
Between the 50s and the 60s, many artists met in Rome, who “knew how to absorb the extraordinary climate of the city, creating a style poised between work, behavior, material and image, between commitment and nihilism” (Fabio Mauri) . Usually they were joined by writers such as Moravia, Pasolini, Flaiano, Parise, Emilio Villa …
The image of a Rome closed in on itself that has sometimes spread is completely false, as evidenced for example by the biography of Franco Angeli, who accredits, through the numerous correspondence exchanges published, the thesis of a city open on the stage of the world, in a role by no means subordinate to that of New York. In Rome there were also many American artists: Rauschenberg, Rothko, De Kooning, Kline, Twombly … Because then “America was in Rome”, as stated by the gallery owner Plinio De Martiis, who with his Galleria La Tartaruga had given an extraordinary impulse to the new artistic climate, and to which the Galleria Marchetti has dedicated a significant tribute. In fact, in October 2014 the “beautiful exhibition Italian Turtle Artists – in the tenth anniversary of the death of Plinio De Martiis” was inaugurated in the Gallery, as defined in the 2021 edition of the historic “Repubblica” Guide dedicated to Rome and Lazio: an exhibition homage to the great Roman gallery owner, ten years after his death, and to his legendary gallery (active in Rome from 1954 to 1984), with works (some completely unpublished) of 31 of the most prestigious Italian artists who exhibited at the Tartaruga between the 50s and the 80s: Franco Angeli, Ugo Attardi, Luigi Boille, Giuseppe Capogrossi, Antonio Corpora, Stefano Di Stasio, Piero Dorazio, Tano Festa, Lucio Fontana, Sergio Lombardo, Mino Maccari, Mario Mafai, Renato Mambor, Titina Maselli, Eliseo Mattiacci, Sante Monachesi, Marcello Muccini, Gianfranco Notargiacomo, Gastone Novelli, Giovanni Omiccioli, Achille Perilli, Fausto Pirandello, Antonietta Raphaël, Mimmo Rotella, Giuseppe Santomaso, Mario Schifano, Antonio Scordia, Cesare Tacchi, Giulio Turcato, Antonio Vangelli, Emilio Vedova.
At the dawn of the 1960s, the critic Cesare Vivaldi wrote, “a new generation of Roman painters is impetuously coming to the fore”: an artistic generation “of early maturation and with more organic and compact characteristics than the previous two”. Vivaldi mentioned some names, focusing in particular on those of Franco Angeli, Tano Festa and Mario Schifano: these three artists – all at the time strongly linked to the De Martiis gallery – are among those who best characterize the so-called “school of Piazza del Popolo ”(Often made to coincide with“ Italian Pop Art ”), and which, despite having looked with great attention to contemporary overseas experiences, have always shown their marked originality in terms of themes, ideological positions and technical ability. The Marchetti gallery has paid particular attention to these in recent years, with the organization of various solo exhibitions and the inclusion of their works in the gallery’s collective, helping to compensate for the lack of attention for a long time encountered by certain critics , for a phenomenon as complex and important as the Scuola di piazza del Popolo, often neglected, compared to other movements (such as Arte Povera), later and characterized by elements already present in the poetics of these artists.
A not inconsiderable place, in the collecting practice and in the exhibition activity of the Marchetti Gallery, is occupied by sculpture. The first important sculpture exhibition in 2006 was dedicated to the refined and rigorous abstractionism of Teodosio Magnoni, followed in 2007 by the personal exhibitions of two as great as different sculptors, Carlo Lorenzetti, with his aerial rarefactions and luminous vibrations, and Giuseppe Spagnulo, with the primeval and earthy strength of his material structures, artists who in the following years maintained a constant presence in the gallery.
In 2011, an interesting parenthesis is the personal exhibition dedicated to a great outsider such as the sculptor of Lucanian origin Giacinto Cerone, for whom the sculpture is the result of a harsh contrast of inner forces: < em> Giacinto Cerone. Coroplastica dell’inquietudine with several extraordinary ceramic works and some unpublished large-scale works on paper, where visionary imagination and realistic expressive violence were intertwined.
In May 2016 the Galleria Marchetti sets up a solo exhibition of one of the greatest contemporary sculptors, Mauro Staccioli: Mauro Staccioli – “Creating sculpture means existing in a place”. The exhibition – created in collaboration with the Mauro Staccioli Archive – featured a dozen sculptures, including some unpublished – such as the great “crescent” Untitled from 2004 – and about twenty of beautiful papers (acrylic and graphite on paper) of large dimensions, to underline the importance of drawing as a premise and at the same time autonomous and contiguous “place” to that of sculpture. The exhibition was Staccioli’s last solo exhibition held in a private living gallery by the artist (unfortunately passed away on January 1, 2018).