Matilde Izzia exhibited across Italy and Europe from 1968 through the 1980s, earning the admiration of some of the most important voices in post-war European art. Her archive of hundreds of works is fully documented, authenticated, and held by her estate. The materials below are available to galleries, curators, journalists, and researchers.
EXHIBITION HISTORY
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1968 — Galleria d'Arte Fogliato, Turin, Italy
Solo exhibition. 56 paintings. Reviewed by Marziano Bernardi, chief art critic of La Stampa.
1970 — Galerie Motte, Petit Palais de Genève, Geneva, Switzerland
Solo exhibition. 33 catalogued works. Endorsed by collector Oscar Ghez, President of the Petit Palais.
1971 — Galleria Hilton, Turin, Italy
Solo exhibition. 21 paintings and 27 drawings.
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1985 — Ca' Vendramin Calergi, Venice
Italy Group exhibition alongside Casorati, Savinio, Carrà, Morandi, and others.
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2006 — Retrospettiva, Mede Lomellina, Italy
Posthumous retrospective.
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2013 — "À rebours", Castello di Casale Monferrato, Italy
Posthumous anthological exhibition. Catalogue published.
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2014 — Complesso Monumentale di Santa Croce, Alessandria, Italy
Posthumous exhibition.
CRITICAL RECOGNITION
"J'ai trouvé votre exposition chez Madame Motte parfaitement équilibrée, d'une haute tenue, démontrant d'une manière parfaite votre talent et votre originalité."
— Oscar Ghez, President of the Petit Palais de Genève and one of Europe's foremost private collectors. Letter dated 3 April 1970, Geneva.
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"Anyone who visits Matilde Izzia's exhibition immediately realises they are in the presence of a cultured painter. Some of her current results evoke affinities with the painters of the 1930s — yet at times her work appears even more complex, thanks to the bold interplay of vibrant colour and the solid structure underpinning her figurative themes."
— Marziano Bernardi, Chief Art Critic, La Stampa, Turin. Catalogue essay, 1968.
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"In the work of Matilde Izzia, there is a sense of completeness that can only be explained through the artist's total identification with the subjects of her experience. And because this identification happens humbly — with dedication and without compromise — each painting carries the feeling of a singular discovery."
— P.A. Tibaldeschi, art critic.
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"Etonnement, admiration, sensibilité. Voilà les premières sensations émouvantes qu'on reçoit si nous regardons la production artistique de Matilde di Ricaldone. Une succession de luminosité et de facilité de composition sont les éléments essentiels qui, unis à une tendance très marquée de la composition, feront de cette artiste un chef des beaux-arts de l'école piémontaise."
— Marco Rafoni, art critic. Catalogue essay, Galerie Motte, Geneva, 1970.
CRITICS & INSTITUTIONS
Among those who reviewed, wrote about, or publicly endorsed her work:
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Oscar Ghez — President, Petit Palais Museum, Geneva
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Noemi Gabrielli — Superintendent, Piedmont Art Galleries
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Marziano Bernardi — Art critic, La Stampa
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Giovanni Viarengo — Art critic and President, Promoter di Belle Arti, Turin; former Director General, RAI TV
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Giovanna Barbero — Art critic, A.I.C.A. member
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Aldo Passoni — Director, Galleria d'Arte Moderna, Turin
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Angelo Mistrangelo — Art critic, La Stampa
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A. Minucci — Art critic, La Stampa
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Carlo Navone — Journalist and art critic
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Vittorio Bottino — Journalist and art critic
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Albino Galvano — Painter, philosopher and art historian, Turin
PUBLISHED CATALOGUES
Matilde Izzia di Ricalcone. Casale Monferrato, 1993. Giovanna Barbero, Piemonte anni 80: pittura e scultura. Milan, 1985. A. De Marchi, Izzia. Vercelli, 1991. C. Preti, À rebours. Casale Monferrato, 2013.
AUTHENTICATION & PROVENANCE
All works are authenticated by the estate of Matilde Izzia and covered by a formal Declaration of Authenticity issued by the testamentary heir. Original exhibition invitations, gallery correspondence, and sale documentation from the 1968, 1970, and 1971 exhibitions are held in the estate archive and available for inspection by appointment. The estate holds original correspondence from Galerie Motte, Geneva, including a sales invoice dated 28 May 1970 and the personal letter from Oscar Ghez dated 3 April 1970. These documents are available to auction houses, galleries, and accredited researchers on request.