As we continue, we find many works from the 1920s and ’30s which, centring on Rome, document the various artistic currents that developed after the war: Return to Order, Magic Realism, Second Futurism and Primitivism. The names of the exponents of this unique period of 20th-century Italian art are well-known: Giorgio de Chirico, Alberto Savinio, Arturo Martini, Mario Broglio, Emanuele Cavalli, Francesco Di Cocco, Carlo Socrate, Marino Mazzacurati, Guglielmo Janni, Franco Gentilini, Mario Sironi, Giacomo Balla, Gino Severini, Pippo Oriani, Mario Mafai and Antonietta Raphaël.
Corrado Cagli is also present with a corpus representing various “periods” in his career between the 1920s and ’60s. He can be seen as a “bridge” between figuration and abstraction and, at the same time, a vital link with art in the United States. His name is also connected with other artists who bring us to the 1940s and ’50s, namely Toti Scialoja, Ettore Colla, Leoncillo Leonardi, Afro and Mirko Basaldella, whose work is characterized by abstract research.
They are followed by a generation central to the collection, that of Mario Schifano, Franco Angeli and Tano Festa, who are a powerful presence, given the number of their works on display. They are accompanied by Giosetta Fioroni, Pino Pascali, Renato Mambor and Cesare Tacchi. All these artists were totally involved in the Roman art scene of the 1960s and belonged to the Scuola di Piazza del Popolo, which never really became an actual movement, promoted by the photographer and gallerist Plinio De Martiis.