Wednesday, April 29, 2015



Housed in the Villino Andersen designed in the years 1922/1925 by the architect, sculptor and painter Hendrik Christian Andersen (1872/1940) who painted the frescos on the first floor

He was born in Norway and raised in the United States. He lived in Rome for forty-four years until his death

Andersen left everything to the Italian State and the museum is open to the public since 1998
It constitutes, with the Manzù Museum Collection at Ardea, the Museo Praz and the Boncompagni Ludovisi Museum, one of the institutions linked to the National Gallery of Modern Art

The collection includes more than 200 sculptures, of which forty large ones in plaster and bronze, more than 200 paintings, more than 350 graphic works, photographs and a library

On the ground floor there are two large exhibition rooms and the studio, on first floor there is the apartment where the artist lived

Among the works:

Bronze group of “Triumph of Washington and Lafayette” 1904/06

Bronze statue “Angel of life” about 1900

Plaster sculpture “Jacob and the Angel” 1909/11

“Bust of Henry James (1843/1916)” 1907, American writer who was a close friend of Andersen and also his lover, as explicitly shown by the letters they exchanged

“The collection is almost entirely centered on the idea of a great utopian 'World City', destined to be the international headquarters of a permanent laboratory of ideas in the arts, sciences, philosophy, religion, physical culture. To this project and to its dissemination Andersen dedicated in 1913 with the French architect Ernest Hébrard a ponderous volume (Creation of a World Centre of Communication, available to read in the Museum) which, starting from the urban concepts of ancient civilizations, should have indicated an approach to the new and modern 'City'“ (Web site of the Museo Hendrik Christian Andersen)

The art of Andersen represents an interesting and desperate yearning for peace, and expressed the illusory confidence in human capabilities on the eve of the great tragedies of the twentieth century caused by nationalism, which the artist tries desperately and unsuccessfully to exorcise

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