Museum floors and sections

Room 1 – Room of the Sacred

The collection of sacred art comprises forty-five sculptures and eight paintings, highlighting the aesthetic and spirituality of Francesco Paolo Ingrao. The works, related to the private sphere, include a series of Crucifixes that stand out for their beauty and religious significance. The sculptures vary in materials and cover a long time span, from the 15th century to the early decades of the 20th century. Among them, the wooden figure of the 'Saint Monk' of Tuscan ambit and the 'Praying Saint... Show more

The collection of sacred art comprises forty-five sculptures and eight paintings, highlighting the aesthetic and spirituality of Francesco Paolo Ingrao. The works, related to the private sphere, include a series of Crucifixes that stand out for their beauty and religious significance. The sculptures vary in materials and cover a long time span, from the 15th century to the early decades of the 20th century. Among them, the wooden figure of the 'Saint Monk' of Tuscan ambit and the 'Praying Saint Francis' by Giacinto Bardetti, made of bronze and slate, are particularly significant. The latter work was the model for a larger sculpture commissioned by Gabriele D'Annunzio. The room displays ten artefacts in wood and terracotta, representing different historical moments. In addition, seven wooden sculptures depicting the Crucifixion are placed in an 'apse', the central symbol of Christianity, together with three paintings from various periods. These works tell a story of faith and art, reflecting the devotion and personal taste of the collector.

Room 2 – Liberty Academy

The collection opens with works from the 19th century, introducing a chronological journey through art. Different currents are explored, from the Accademia to the Macchiaioli, from Symbolism to Art Nouveau. Gennaro Maldarelli's 'Portrait of a Girl' represents academic painting, while Vincenzo Gemito's sculpture 'Charles V' is a bronze study. Ercole Rosa, known for the monument to the Cairoli brothers, is present with the bronze 'Seated Man', an expression of Verism. Ettore Ferrari, author of... Show more

The collection opens with works from the 19th century, introducing a chronological journey through art. Different currents are explored, from the Accademia to the Macchiaioli, from Symbolism to Art Nouveau. Gennaro Maldarelli's 'Portrait of a Girl' represents academic painting, while Vincenzo Gemito's sculpture 'Charles V' is a bronze study. Ercole Rosa, known for the monument to the Cairoli brothers, is present with the bronze 'Seated Man', an expression of Verism. Ettore Ferrari, author of post-unification works, created a preparatory terracotta for 'Garibaldi on Horseback'. Leonardo Bistolfi, one of the main Symbolist sculptors, created the marble 'Female Head', linked to the monument to Giovanni Segantini. The Macchiaioli are represented by Domenico Colao, a pupil of Giovanni Fattori. Enrico Reycend and Paolo Ferretti offer Impressionist landscapes, while Adolfo De Carolis, with 'Amore e Psiche', shows Pre-Raphaelite and Divisionist influences.

Room 3 – Divisionism

Italian Divisionist painting, which flourished between the end of the 19th century and the beginning of the First World War, represents a crucial moment in the art of the period. This artistic movement developed from the First Brera Triennial Exhibition in 1891, where masterpieces were presented that profoundly marked Italian artistic evolution. The name 'Divisionism' derives from the technique used: the use of complementary colours in a 'divided' manner. This technique is a reinterpretation of... Show more

Italian Divisionist painting, which flourished between the end of the 19th century and the beginning of the First World War, represents a crucial moment in the art of the period. This artistic movement developed from the First Brera Triennial Exhibition in 1891, where masterpieces were presented that profoundly marked Italian artistic evolution. The name 'Divisionism' derives from the technique used: the use of complementary colours in a 'divided' manner. This technique is a reinterpretation of French Pointillism by artists such as George Seurat and Paul Signac. Instead of using dots, the pointillists applied colour with short strokes and stringy brush strokes, creating vibrant light effects. The themes covered by Divisionist painting ranged from social and naturalistic issues to everyday life, including literary, symbolic and allegorical themes. The main exponents of this movement include Giovanni Segantini, Giuseppe Pellizza da Volpedo, Gaetano Previati and Angelo Morbelli. A significant example of this current are the paintings of Giuseppe Cominetti, in particular seven works from his Divisionist phase that are distinguished by their bold use of colour and vibrant representation of light.

Room 4 – Boccioni

The main room is dedicated to Umberto Boccioni, a central figure of Futurism. This exhibition includes thirty-two works including drawings and paintings, illustrating the artist's development from his Divisionist period to his mature Futurism in 1916, characterised by denser material and accentuated plasticism. Some of Boccioni's works were acquired through his sister Amelia. Among the masterpieces are 'Woman in the Garden', a 1907 painting depicting a female figure bathed in light and... Show more

The main room is dedicated to Umberto Boccioni, a central figure of Futurism. This exhibition includes thirty-two works including drawings and paintings, illustrating the artist's development from his Divisionist period to his mature Futurism in 1916, characterised by denser material and accentuated plasticism. Some of Boccioni's works were acquired through his sister Amelia. Among the masterpieces are 'Woman in the Garden', a 1907 painting depicting a female figure bathed in light and movement, and 'Portrait of Ines', an example of Divisionist technique with signs of dynamism. Boccioni learned Divisionism from Giacomo Balla, whose portrait of 'Giovanni Prini' is in the room, together with the sculpture 'Head of a Young Girl'. Another work in the exhibition is 'La batosta', a gouache by Mario Sironi, which belonged to the art critic Margherita Sarfatti.

Room 5 – Futurism

Futurism was born in 1909 thanks to Filippo Tommaso Marinetti, an Italian cultural movement that challenged traditional artistic expressions. In 1910, figures such as Umberto Boccioni, Giacomo Balla, Carlo Carrà, Gino Severini and Luigi Russolo signed two fundamental manifestos: 'Manifesto of Futurist Painters' and 'Technical Manifesto of Futurist Painting'. These artists moved away from academic conventions, adopting Divisionist techniques to represent movement and speed. In 1915, Balla and... Show more

Futurism was born in 1909 thanks to Filippo Tommaso Marinetti, an Italian cultural movement that challenged traditional artistic expressions. In 1910, figures such as Umberto Boccioni, Giacomo Balla, Carlo Carrà, Gino Severini and Luigi Russolo signed two fundamental manifestos: 'Manifesto of Futurist Painters' and 'Technical Manifesto of Futurist Painting'. These artists moved away from academic conventions, adopting Divisionist techniques to represent movement and speed. In 1915, Balla and Fortunato Depero published the 'Manifesto of Futurist Reconstruction', with the intention of revolutionising all art forms. Prominent Futurist works include Depero's 'Alpine Houses in Grey' from 1936 and Tullio Crali's 'Landscape with Airplanes' from 1939. Depero is also known for creating the Campari Soda bottle, while Crali is an exponent of Aeropittura, a branch of Futurism that explores the dynamics of flight. These works reflect the essence of Futurism: a celebration of modernity and speed.

Room 6 – Sculptures by Francesco Ciusa

Francesco Ciusa, who was born in Nuoro in 1883 and died in Cagliari in 1949, is a central figure in early 20th century Sardinian art. His works, rich in meaning and emotional intensity, laid the foundations for contemporary art in Sardinia. 'The Mother of the Killed', a work of great impact exhibited at the Venice Biennale in 1907, is one of his best-known masterpieces. This sculpture, which explores maternal grief, received the International Prize for Sculpture. Another significant work is... Show more

Francesco Ciusa, who was born in Nuoro in 1883 and died in Cagliari in 1949, is a central figure in early 20th century Sardinian art. His works, rich in meaning and emotional intensity, laid the foundations for contemporary art in Sardinia. 'The Mother of the Killed', a work of great impact exhibited at the Venice Biennale in 1907, is one of his best-known masterpieces. This sculpture, which explores maternal grief, received the International Prize for Sculpture. Another significant work is 'Dolorante anima sarda', which deals with the theme of feuding through the eyes of a widow. 'La Filatrice' and 'Il Nomade' represent aspects of everyday life, while 'Anfora sarda' and 'Il Cainita' show the influence of Renaissance art. In 'Bontà', a bronze motherhood, the absence of the head of the mother figure interrupts the dialogue between mother and child. 'The Kiss' and 'La Pieta' are intended as funerary monuments, with the former incorporating Art Nouveau elements and the latter expressing deep religious drama. The sculpture 'La Pietà', originally in plaster and later translated into marble, was restored in 1995 after being found in a cave.

Room 7 – Picture Gallery / Library

Since 2001, an extensive art collection of more than 500 pieces has enriched Cagliari's cultural scene. Covering a historical period from 1840 to 1980, this collection includes approximately 250 works displayed in a selective itinerary. The remaining works, including paintings, sculptures, drawings and engravings, are arranged in a special room, designed as a 'visitable depository'. This area is distinguished from the others by its unique layout, intended to evoke a sense of horror vacui, a... Show more

Since 2001, an extensive art collection of more than 500 pieces has enriched Cagliari's cultural scene. Covering a historical period from 1840 to 1980, this collection includes approximately 250 works displayed in a selective itinerary. The remaining works, including paintings, sculptures, drawings and engravings, are arranged in a special room, designed as a 'visitable depository'. This area is distinguished from the others by its unique layout, intended to evoke a sense of horror vacui, a feeling of total filler reminiscent of the collector's home. Here, the works of art are arranged densely, without following a chronological or stylistic order, but are grouped by genre: male portraits, female portraits, landscapes, nudes and still lifes. Along the walls, in special showcases, are seventy-four ceramics, mainly of Apulian and Campanian origin, which are part of a parallel collection. This arrangement allows visitors to immerse themselves in a unique artistic experience, offering an intimate and unusual view of the works, as if they were in a private setting, rich in history and passion for art.

Room 16 – Educational Room

Room 8 – Sculpture Room

Behind the large window, one can admire Italian sculptures from the late 19th and 20th century, made of various materials such as bronze, terracotta, plaster and marble. The works, often by anonymous authors, depict heads, busts and animals, and are rich in historical and mythological references. Subjects include famous couples such as Antony and Cleopatra and dramatic scenes such as 'Mors tua, vita mea'. Among the well-known artists, Costantino Barbella created the 'Serenata' in bronze and... Show more

Behind the large window, one can admire Italian sculptures from the late 19th and 20th century, made of various materials such as bronze, terracotta, plaster and marble. The works, often by anonymous authors, depict heads, busts and animals, and are rich in historical and mythological references. Subjects include famous couples such as Antony and Cleopatra and dramatic scenes such as 'Mors tua, vita mea'. Among the well-known artists, Costantino Barbella created the 'Serenata' in bronze and terracotta sketches. Alfredo Biagini is present with a 'Seated Woman' and a head of Mussolini. Davide Calandra created a bust of a child and 'Cloister Flower'. Pietro Canonica sculpted a portrait of Emilio Paolo Papiniano, while Nicola D'Antino is represented with female busts and portraits of children. On the left wall, works of African wooden art, including three protective masks and two female sculptures from the Senufo culture, enrich the exhibition.

Room 9 – Twentieth Century

The Novecento movement, founded in Milan between 1922 and 1926 by Margherita Sarfatti, was a reaction to the chaos of the artistic avant-garde, promoting a return to order. Margherita Sarfatti, a central figure of the Ventennio Fascista and linked to Benito Mussolini, brought together artists such as Arturo Martini, Carlo Carrà and Achille Funi. The aim was to recover the classical values of the Italian Renaissance, distancing themselves from Futurist and European influences. The movement... Show more

The Novecento movement, founded in Milan between 1922 and 1926 by Margherita Sarfatti, was a reaction to the chaos of the artistic avant-garde, promoting a return to order. Margherita Sarfatti, a central figure of the Ventennio Fascista and linked to Benito Mussolini, brought together artists such as Arturo Martini, Carlo Carrà and Achille Funi. The aim was to recover the classical values of the Italian Renaissance, distancing themselves from Futurist and European influences. The movement embraced a more sober and meditative art, focusing on precision, decisiveness and concreteness. Works created under this influence are characterised by clear signs, decisive colours and resolute forms, embodying a deep and studied feeling. The philosophy of the 20th century focuses on an art that aspires to the concrete and definitive, through a process of elimination and study. This approach aims to create works that reflect an essential simplicity, evocative of Italy's great artistic past, from the Etruscan era to the Renaissance, when art reached its zenith.

Room 10 – Deiva De Angelis, Filippo De Pisis, Massimo Campigli

The room opens with the works of Deiva De Angelis, an artist with an original spirit, who lived between London and Paris and was best known in the Roman art scene. Her career, marked by painful events, ended prematurely in 1925. Deiva De Angelis stands out for her talent as a colourist, capable of synthesising volumes in the 'Female Portrait' and expressing intense emotions in the expressionistic colours of the 'Landscape' and the 'Girl with a Pink Handkerchief'. In the centre of the room, oils... Show more

The room opens with the works of Deiva De Angelis, an artist with an original spirit, who lived between London and Paris and was best known in the Roman art scene. Her career, marked by painful events, ended prematurely in 1925. Deiva De Angelis stands out for her talent as a colourist, capable of synthesising volumes in the 'Female Portrait' and expressing intense emotions in the expressionistic colours of the 'Landscape' and the 'Girl with a Pink Handkerchief'. In the centre of the room, oils by Filippo De Pisis are exhibited. This artist from Ferrara, initially attracted to the metaphysical painting of the De Chirico brothers, broadened his pictorial horizons during a long stay in Paris. Here he met the main exponents of Impressionism, whose style influenced his art, characterised by a gestural use of colour, evident in "Still lifes" and in the view of Paris. The room concludes with Massimo Campigli's 'Sun and Shadow', a work in which geometrism does not translate into abstraction, but into a desire for purity, order and compositional rigour, embodied by the stylised 'little women' typical of the artist's work. This exhibition offers a fascinating look at three distinct artistic paths, united by a common desire to explore new visual languages.

Room 11 – Morandi Room

On the first floor of a museum in Cagliari, an entire room is dedicated to Giorgio Morandi, a famous artist from Bologna who lived between 1890 and 1964. Here, three oils on canvas, nine drawings and an etching can be admired, all works belonging to a prestigious collection. Morandi had a special bond with the collector Francesco Paolo Ingrao, with whom he kept up a continuous correspondence, which began in 1946 and continued until the artist's death in 1964. The letters on display in the room... Show more

On the first floor of a museum in Cagliari, an entire room is dedicated to Giorgio Morandi, a famous artist from Bologna who lived between 1890 and 1964. Here, three oils on canvas, nine drawings and an etching can be admired, all works belonging to a prestigious collection. Morandi had a special bond with the collector Francesco Paolo Ingrao, with whom he kept up a continuous correspondence, which began in 1946 and continued until the artist's death in 1964. The letters on display in the room offer an insight into their personal relationship and the way Ingrao acquired Morandi's works. Originally, the collection comprised twenty-one paintings, which were sold to the City of Bologna in 1985, in respect of Morandi's wish to have his works exhibited in his hometown. Subsequently, Ingrao undertook to search for new paintings, managing to find three 'Nature Morte' from various periods, which can now be seen in this room. These works bear witness to Morandi's mastery of representing simple objects with depth and introspection.

Main Hall

Room 13 - Mafai

Mario Mafai, a well-known Roman painter, was born with a precocious artistic vocation. He grew up in Rome and studied at the preparatory school for ornamental arts under Antonino Calcagnadoro, whom he initially challenged but later recognised as a master. He decided to abandon his studies to devote himself entirely to painting. In 1924, he met Scipione, pseudonym of Gino Bonichi, with whom he formed a long friendship. They both enrolled at the Free School of Nude at the Academy of Fine Arts. It... Show more

Mario Mafai, a well-known Roman painter, was born with a precocious artistic vocation. He grew up in Rome and studied at the preparatory school for ornamental arts under Antonino Calcagnadoro, whom he initially challenged but later recognised as a master. He decided to abandon his studies to devote himself entirely to painting. In 1924, he met Scipione, pseudonym of Gino Bonichi, with whom he formed a long friendship. They both enrolled at the Free School of Nude at the Academy of Fine Arts. It was there in 1925 that Mafai met Antonietta Raphael, a Lithuanian painter and sculptor. Their relationship lasted a lifetime, leading to the birth of three daughters. In 1929, the art critic Roberto Longhi defined Mafai, Scipione and Raphael as the 'School of Via Cavour', emphasising the originality of their painting, characterised by a hallucinated expression that opposed the art of the 'Novecento' movement. Their works were presented together with those of artists such as Felice Casorati, known for his versatility, and Antonio Donghi, an exponent of 'Magic Realism'.

Room 14 – Ottone Rosai, Pio Semeghini

The art room houses the works of two artists with a very different visual language. Ottone Rosai, the Florentine expressionist, is known for his strong, angular stroke. Prominent among his works is 'Vaso di fiori' (Vase of Flowers) from 1939, characterised by a pronounced mark. In the early 1940s, Rosai presents male figures seated from behind, in a palette of cold tones such as greys and ochres. The 'Male Portrait' of 1946 expresses his expressionist style to the fullest, while in 'Landscape'... Show more

The art room houses the works of two artists with a very different visual language. Ottone Rosai, the Florentine expressionist, is known for his strong, angular stroke. Prominent among his works is 'Vaso di fiori' (Vase of Flowers) from 1939, characterised by a pronounced mark. In the early 1940s, Rosai presents male figures seated from behind, in a palette of cold tones such as greys and ochres. The 'Male Portrait' of 1946 expresses his expressionist style to the fullest, while in 'Landscape' the forms become geometric. In stark contrast, Pio Semeghini, a painter from Lombardy, uses a bright and clear approach. His 17 works, painted on wood or plywood without preparatory drawings, include female figures and still lifes characterised by delicate colours. The works 'Chiesa della Salute' and 'Laguna' capture the lagoon atmosphere with light, muted tones. Together, the works offer a journey between Rosai's tenebrism and Semeghini's chiarismo, creating a fascinating visual dialogue.

Room 15 – Maccari Room

The works of Mino Maccari, a versatile artist who was born in Siena in 1898 and died in Rome in 1989, are known for their irony and ability to capture the contradictions of society. His pictorial production, characterised by deformed figures and vivid colours, includes themes such as women, military satire, myth and portraits. Among his most representative works, 'Sibyl' from 1950 depicts the mythological figure of the Cumaean Sibyl, naked and sinuous, against a bright red background. Another... Show more

The works of Mino Maccari, a versatile artist who was born in Siena in 1898 and died in Rome in 1989, are known for their irony and ability to capture the contradictions of society. His pictorial production, characterised by deformed figures and vivid colours, includes themes such as women, military satire, myth and portraits. Among his most representative works, 'Sibyl' from 1950 depicts the mythological figure of the Cumaean Sibyl, naked and sinuous, against a bright red background. Another example is 'Admiral on a Tub' from 1957, where an elderly admiral, in uniform and wearing a life jacket, sits on a tub, creating a scene as surreal as it is symbolic. Maccari, who was also an engraver, journalist and illustrator, collaborated with magazines such as 'Il Selvaggio' and 'Il Popolo d'Italia', demonstrating a constant commitment to commenting on his era with a sarcastic and amused tone. His works, often also painted on the back, reveal an ability to sketch with a few essential signs, offering a unique and critical view of his time.

Staircase 1

Staircase 2

Monumental Trees

The Public Gardens are a charming green lung located in the heart of Cagliari, between the districts of Castello, Villanova and La Vega. Created in 1828 by architect Carlo Boyl of Putifigari, the gardens embody the neo-classical style of the 19th century. Originally part of the Regia Polveriera, the Municipality of Cagliari acquired them in 1840, transforming them into a popular public space. In 1933, the area underwent a significant renovation, which led to a new use for the historical... Show more

The Public Gardens are a charming green lung located in the heart of Cagliari, between the districts of Castello, Villanova and La Vega. Created in 1828 by architect Carlo Boyl of Putifigari, the gardens embody the neo-classical style of the 19th century. Originally part of the Regia Polveriera, the Municipality of Cagliari acquired them in 1840, transforming them into a popular public space. In 1933, the area underwent a significant renovation, which led to a new use for the historical buildings. The gardens were further embellished in 2005, becoming the place we can admire today. The vegetation is lush and of great value, with a long central avenue adorned by a double magnolioid ficus over 100 years old. Along the edges of the avenue are also splendid specimens of jacaranda, palms, holm oaks and other types of ficus. The central path offers a pleasant walking experience, surrounded by nature, ideal for relaxing and enjoying some peace and quiet in the city centre. The centuries-old trees and exotic plants create a unique atmosphere, making the gardens a perfect place for anyone seeking a moment of serenity and natural beauty.

Sculptures

The Public Gardens, inaugurated in 1840, are the first public park in Sardinia and offer a harmonious fusion of nature and art. Located in a privileged position, they welcome visitors with majestic monumental plants and an interesting collection of sculptures ranging from the first century A.D. to 2018. Prominent among them is the Great Herculaneum, a Roman sculpture from St Thomas of Uta. Other works include statues representing the seasons and a 19th-century element, Antonio Paradiso's Flower... Show more

The Public Gardens, inaugurated in 1840, are the first public park in Sardinia and offer a harmonious fusion of nature and art. Located in a privileged position, they welcome visitors with majestic monumental plants and an interesting collection of sculptures ranging from the first century A.D. to 2018. Prominent among them is the Great Herculaneum, a Roman sculpture from St Thomas of Uta. Other works include statues representing the seasons and a 19th-century element, Antonio Paradiso's Flower and an untitled creation by Mauro Staccioli, placed next to a carob tree. There are also modern works such as When the rising sun by Giovanni Casu and the five Dormienti by Mimmo Paladino, which adorn the basins at the entrance. Finally, Tempo in processo by Giovanni Campus completes this artistic journey, offering visitors a unique experience that combines the fascination of nature with artistic expression. These gardens are not only a place to relax, but also an opportunity for reflection and discovery, where art and nature dialogue in perfect harmony.