From Liguria to Argentina and back

Transcription

From Liguria to Argentina and back: the monument to
Manuel Belgrano in Genoa
De Liguria a Argentina y de regreso: el monumento a Manuel Belgrano en Genova
De Ligúria a Argentina e de regresso: o monumento a Manuel Belgrano em Gênova
Caterina Olcese Spingardi 1
*
Recibido: 10/04/2015
Aceptado: 01/05/2015
Disponible en Línea: 30/06/2015
Abstact
A monument to Manuel Belgrano, Argentine independence hero of Ligurian origin, was inaugurated on
October 12, 1927 in Genoa: the realization was entrusted to Arnoldo Zocchi, author of the Columbus
Monument in Buenos Aires (1921). This fact raised the charge for another identical sculpture, in Rosario,
Santa Fe (1928), and probably for another monument to Columbus (1930), in Lavagna. Paying particular
attention to the patronage of the artwork, strongly supported by some well-known expatriates from Liguria,
this paper focuses on its symbolic meanings: an homage to Argentina and its relations with Italy; it also
intended to celebrate –like other monuments to national Italian heroes erected in South America thanks to
expatriates– virtues and achievements of an entire community of emigrants, when Genoa was the capital of
Italian emigration.
Keywords: ítalo-argentine relations, Ligurian emigration, symbolic value of the monument, reciprocity
memorial, self-celebration of the migration contribution
Revista Kaypunku / Volumen 2 / Número 1 / junio 2015, pp. 217-233
Documento disponible en línea desde: www.kaypunku.com
Esta es una publicación de acceso abierto, distribuido bajo los términos de la Licencia Creative Commons ReconocimientoNoComercial-SinObraDerivada 4.0 Internacional. (http://creativecommons.org/licenses/by-nc-nd/4.0/), que permite el uso no
comercial, compartir, descargar y reproducir en cualquier medio, siempre que se reconozca su autoría. Para uso comercial póngase
en contacto con [email protected]
*
Universidad de Génova, Italia. [email protected]
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REVISTA DE ESTUDIOS INTERDISCIPLINARIOS DE ARTE Y CULTURA / VOL. 2 / NÚM. 1 / 2015 / PP. 217-233
218
Caterina Olcese Spingardi
Resumen
El 12 octubre de 1927, en Génova, se inauguró un monumento a Manuel Belgrano, héroe de la independencia
argentina originario de Liguria, Italia. Confiado a Arnoldo Zocchi, autor del monumento a Colón en Buenos
Aires (1921), el resultado fue la asignación de una segunda escultura idéntica en Rosario de Santa Fe (1928) y
probablemente de otro monumento a Colón (1930), en Lavagna. Con especial atención a los promotores de la
obra, encargada por algunos ilustres emigrados de Liguria, el documento se enfoca asimismo en sus aspectos
simbólicos, el homenaje a Argentina y sus relaciones con Italia. El monumento también quiso celebrar —
como los erigidos a otros héroes nacionales italianos en América Latina gracias a los expatriados— las
virtudes y los logros de una comunidad de emigrantes, cuando Génova era la capital de la emigración italiana.
Palabras clave: relaciones ítalo-argentinas, emigración de Liguria, valor simbólico del monumento, memorial
a la reciprocidad, autocelebración de la contribución de la emigración
Resumo
Em 12 de outubro de 1927, em Gênova, foi inaugurado um monumento a Manuel Belgrano, herói da
independência argentina da Ligúria, confiado a Arnoldo Zocchi, autor do Monumento Columbus, em Buenos
Aires (1921). Este fato aumentou a atribuição para uma segunda escultura idêntica em Rosario Santa Fe
(1928), e, provavelmente, para um outro monumento a Colombo (1930), em Lavagna. Com especial atenção
para os promotores do trabalho, apoiado por alguém ilustre que emigrou da Liguria, este trabalho tem como
objetivo documentar até mesmo os significados simbólicos: homenagem a Argentina e as suas relações com
a Itália, também pretende celebrar - como outros monumentos aos heróis italianos erguidos na América do
Sul, graças aos expatriados - virtudes e realizações de toda uma comunidade de emigrantes, quando Gênova
foi a capital da emigração italiana.
Palavras-chave: relações ítalo-argentinos, emigração Ligúria, valor simbólico do monumento, reciprocidade
memorial, auto-celebração da contribuição da migração
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From Liguria to Argentina and back: the monument to Manuel Belgrano in Genoa
219
Figure 2
Figura 1. Arnaldo Zocchi. Monument to Manuel Belgrano. [Marble
sculpture]. Genoa, Italy. Soprintendenza Belle Arti e Paesaggio della
Liguria. Photography: Daria Vinco.
Figure 2. (Detail). Photography: Daria Vinco.
Figure 1
Inaugurated in Genoa on October 12, 1927, the monument to Manuel Belgrano, the Argentine independence
hero of Ligurian origin (his father was a native of the town of Oneglia), is located in a particularly active
period for the commemorative public sculpture in the Ligurian capital1 (Figs.1-2). In the early twenties, in
fact, the city –that even in the last decades of the nineteenth century had been touched only marginally by
the phenomenon of monuments erection characteristic of the post-unification of the country, elsewhere in
Italy much more important and widespread– was the scene of a real «monumental invasion», dedicated to the
memory of the First World War, recently concluded, or of other kinds. In parallel, also, to meet this need, in
a narrow area between the mountains and the sea and therefore traditionally poor in squares, in 1926 ocurred
the establishment of «Greater Genoa» that, with the annexation of nineteen other surrounding municipalities,
1
In addition to the abundant literature of the era, which will be quoted in the notes to follow, interesting recent considerations on
the monument are in Gutierrez Viñuales (2004, p. 117), Sborgi (1999, p. 161), Bochicchio (2012, pp. 77-78). Other sculptures
dedicated to Belgrano in Italy are two busts, the first one of Luigi Brizzolara (1933), located in Rome (Gutierrez Viñuales,
2004, pp. 117, 241), and the second in Imperia.
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not only entailed massive transformations, but also made available new urban spaces (Sborgi, 1988, pp. 420423; Olcese, 2010, pp. 157-158).
In a post-war era characterized by emphasis on the Italian side, with respect to Argentina, in
order to promote the development of fruitful political, economic and trade relationships, the initiative for the
monument to Belgrano had been launched during a banquet offered in Genoa, in December 1922, to Angelo
Gallardo, then returning to Argentina to assume the role of Foreign Minister (Comitato, 1923-1927, p. 5).
Among those who had the idea, as well as those who then actually led the charge to build it and about which
it will be said, alongside Gallardo (which chronicles did not fail to recall the Italian and Ligurian origin,
being his maternal grandfather Genoese), played a key role Elia Lavarello (Camogli 1859 - Genoa 1923),
then president of the Italian-Argentine Chamber of Commerce, who had organized the event. A relevant
character, even if destined to fade out early (he died the following year), Lavarello perfectly embodied the
role of the successful Ligurian emigrant;2 after a remarkable success in Argentina, where alongside Nicolas
Mihanovich, his stepfather, had raised to an exceptional development the shipping activities initiated by
his father Giovanni Battista, he returned to Italy in 1903 and was reported for a tireless generosity in the
professional, political and diplomatic commitment. He was patriotic and devoted to charity –during World
War I he was extraordinarily dedicated in assisting wounded soldiers– (Commemorazioni, 1923; Lavarello,
1924);3 he was also a refined buyer and collector of contemporary art: his sumptuous Genoese home, full
of paintings and sculptures for the realization of which a team of high-level artists had cooperated, was
celebrated and published widely in images4 (Le Costruzioni, ca. 1909, pls. 1-3; Cicala, 1917, pl. CVIII-CXV;
Cappellini, 1932, pp. 100-105), although unfortunately demolished, yet in recent studies it was remembered
as an excellent example of that sumptuous blend of eclecticism and modernism typical of the culture of the
early twentieth century (Olcese, 2003, pp. 132, 137, ill. 146; Fochessati, 2003, pp. 173, 180, 181, ills. 211212; Barisione, 2008, pp. 41, 45).
Died prematurely Lavarello, the construction of the monument was entrusted to two other
prestigious names of Italian-Argentine Ligurian origin: to support the Italian committee the engineer from
Genoa Luigi Luiggi (Genoa 1856 - Rome 1931) was called, just back from an important experience in South
America, which culminated in the design of the military port of Bahia Blanca, strong of a brilliant career also
at home, had been recently appointed Senator of the Kingdom of Italy. Giacomo (Santiago) Pinasco (Rosario
Prototipo di quelle magnifiche figure di italiani che all’estero sanno affermarsi col loro spirito di lavoro e di tenacia congiunto
a genialità (Il monumento all’eroe 1928, pp. 256-257).
3
See also Scardin (1903, pp. 521-522). On Nicolas Mihanovich: Zanotti de Medrano (2005).
4
Made on a project by Gaetano Orzali, decorated with friezes and statues of Arnaldo Fazzi, ceramics and glasses of Galileo
Chini, it contained sculptures by Augusto Rivalta, Odoardo Tabacchi, Giuseppe Niccolini, and numerous paintings, among
others by Giulio Aristide Sartorio, Tranquillo Cremona, Filippo Carcano and Antonio Mancini. There is also kept a bust of
Lavarello, by Luigi Brizzolara, sculptor from Chiavari (Liguria) known for his remarkable work in South America, also
author of a valuable Lavarello grave in the cemetery of Staglieno, Genoa (1926), an interesting example of adherence to the
modernist language, introduced in the Italian funerary sculpture by Leonardo Bistolfi.
2
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Santa Fe 1860 - La Cumbre, Córdoba 1937) was nominated in the Argentine committee; son of an immigrant from
the coastal village of Lavagna, after a Genoese education, in Rosario Santa Fe, where he was born, he established
himself soon within commercial and especially political activities (he was a deputy and mayor there), up to take
the head office of Banca de Italia y Río de la Plata.5 An important task, the latter, in the realization of the monument
under discussion: the subscription for fundraising in fact soon went well, thanks to promotional and organizational
skills, as well as the widespread distribution on the territory of that bank; it seems useful to recall here that, among
other things in the bank foundation, which took place in the seventies of the nineteenth century, the prevailing
role was the Ligurian initiative, coming from that region not only his major capitals and seven out of nine of the
founders, but also its first and most important presidents, Giuseppe Piaggio and above all Antonio Devoto.6
The fervor of the many monumental initiatives underway in Genoa in the twenties, of which it
was said at the beginning, forced the organizing committee to change the original choice of the location
for the monument: the roundabout of Via Corsica, overhanging the sea and the harbor, initially identified
as the optimal location for a sculpture «expression of greetings» to the many Italians embarked on routes
towards South America, however, was assigned by the municipality to erect a work dedicated to the memory
of Goffredo Mameli, local hero of the national «Risorgimento», eventually not fulfilled. Since 1923 it
was therefore decided for Piazza Tommaseo: isolated and elevated location, in an area of the city which is
crucial, because of the connection with the elegant residential neighborhoods (Albaro and the Levante) then
expanding, deemed also suitable for both the high visibility that the monument would have had till far away
(the large arteries of Via XX Settembre and Corso Buenos Aires would have excellently assumed the function
of a prospective telescope) and for the presence in the area of place names dedicated to Latin America
(Concessione, 1923, p.1271)7. For the granting of the area, subject to the condition that the foundation work
should not start before that to the war memorial (the future Piacentini Arc in Piazza della Vittoria), in April
1925 the town council of Genoa, led by a special commissioner, Alfredo Goffredo, had to approve a waiver;
it allowed to organize, on April 17 of the same year, the laying of the foundation stone at the presence of the
king of Italy Vittorio Emanuele III (La posa, 1925, pp. 411-417; Tartagliozzi, 1925) (Fig.3).
On Luiggi see: Comitato (1906, pp. 199, 407 ff.), Zuccarini (1910, pp. 348-349), Petriella & Sosa Miatello (1976, pp. 737741), Fondazione Casa America (2006, pp. 311-312). On Pinasco see: Scardin (1903, pp. 334, 396); Zuccarini (1910, p. 343);
Petriella & Sosa Miatello (1976, pp. 995-996); Fondazione Casa America (2006, p. 375).
6
On the importance of this bank, that had its Italian headquarters right in Genoa, in a prestigious building in Piazza Fontane
Marose: Scardin (1903, pp. 512-13 and passim), Comitato (1906, pp. 229-234), Zuccarini (1910, pp. 422-423 and passim),
Consoli (1927, pp. 791-797) and Rosetti (1928, p.506). In February 1924 another Ligurian emigrated to Argentina was
elected to the vice presidency, Giuseppe Devoto, key figure in the creation of the new Italian hospital of Buenos Aires and
in institutions founded by Italian immigrants in America. On Giuseppe Devoto, nephew of the aforementioned Antonio and
husband of her cousin Filomena Devoto, daughter of another of the many brothers Devoto, see: Petriella & Sosa Miatello
(1976, pp. 469-470), Fondazione Casa America (2006, pp. 224-225), Costa (2011).
7
On the urban transformations of the area between the nineteenth and twentieth centuries, see the recent Luccardini (2013,
pp.16-17 and passim), with a rich collection of vintage images; as to the place names, beside Corso Buenos Aires, in 1912 the
nearby street Nuovo Mondo had been renamed Via Montevideo.
5
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«Everlasting acknowledgement of the brotherhood between Italy and Argentina, but also material
symbol of the virtues of the immense phalanx of Italo Argentines, powerful factor of our progress», said
about the sculpture the minister Gallardo in that circumstance (La posa, 1925, p. 415), while a reporter called
it «monument to the unknown... the first worker that good fate sent from Italy to La Plata, as seems to express
its flag, heaven of freedom to the lands that the Italians appeared to have opened to the seeds» (Tartagliozzi,
1925, p. 736) . That sculpture would then become not only a tribute on the Italian soil to a friendly nation
and its independence, but also a celebration –or perhaps, and even better, self-representation, taking into
account the above comments about its promoters– on the excellent contribution provided to development of
the South American nation as a whole community of expats.8 Of the same general Belgrano, moreover, it is
remembered the versatility and hard work, manifested not only in the military and political commitments,
but effectively took place in other areas also –he was «economist, philosopher, lawyer, educator, diplomat,
soldier» (Tartagliozzi, 1925, p. 736) –.
The leading role in diplomatic relations between Italy and Argentina played in the period by the
city of Genoa, the first Italian port of departure for the South American routes, but also the contribution of
its substantial and enterprising emigration,9 is confirmed in a number of other ceremonies of high symbolic
and cultural value, which took also place there at this time, including the delivery to its University of a large
collection of volumes of Argentine culture, shortly before the Belgrano’s monument foundation. Equally
entitled to Manuel Belgrano (La Consegna, 1925, p. 284; Gli Avvenimenti, 1925, p. 313; La Consegna, 1925,
pp. 391-392),10 strongly supported by the Latin American government and soon enriched with other items
sent, in 1928 it was called «the main Argentine library in Europe» (La biblioteca, 1928, p. 1202).
Back to the monument, the choice of the sculptor and the project were entrusted by the promoting
committees to an artistic commission, made by architect Manfredo Manfredi (director of the School of
Architecture in Rome) and sculptors Paolo Enrico De Barbieri (director of the Accademia Ligustica of Genoa),
Edoardo Rubino (professor of the Academy of Fine Arts in Turin) and Eugenio Maccagnani (Accademia di
San Luca in Rome) (Comitato, 1923-1927, p. 15; Per il Monumento, 1925). If the assignment to De Barbieri,
a rather modest artist, was probably due to the institutional role that he then held in Genoa, the last two names
To emphasize the strongly «Ligurian» initiative is worth remembering also the active intervention of the association «A
Compagna» (association that aims to promote and preserve the traditions and history of Genoa and Liguria) through both his
Italian representatives, both its Argentine chapter. (La posa, 1925, p. 411).
9
«Genoa has been for more than a century the capital of Italian emigration, the great Italian emigration» (Incisa di Camerana,
2005, p.14; Doria, 2008).
10
On the importance of the event see also: Il comm. Prof. De Luca (1926, p.101); also, in June 1926, the Genoese Istituto
Superiore di Scienze Economiche e Commerciali received as a gift the Argentine Museum of trade: La Consegna del Museo
(1926, pp. 963-964); see also: Genova e le relazioni italo-sudamericane (1927, p. 248), Professori Argentini a Genova (1927
p. 483); later on, in the interest of reciprocity, from Italy it would be shipped a collection of volumes for the University of
Buenos Aires: La biblioteca italiana C. Colombo (1928, pp. 1202-1203).
8
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Figure 3. Arnaldo Zocchi. (1910). Sketch for the Monument to Cristoforo
Colombo. Buenos Aires, Argentina. (Zuccarini, 1910, p. 30)
were well-known in Buenos Aires: Rubino in 1907 was the winner with David Calandra in the competition for
the Monument to General Mitre, while Maccagnani in 1904 had realized there the monument to Garibaldi.11
In order to give more symbolic meaning to the monument, designed as a «certificate of brotherhood»
(Comitato, 1923-1927, p. 15) between the two nations, the promoting committees imposed a number of
iconographic and executive conditions, precise and cogent: assignment to an Italian artist of the statue of
the general, equestrian in bronze, bearing the flag in his hand or accompanied by the statue of the Argentine
Republic; preparation in Argentina of the basement, from granite of the Andes, as well as for the reliefs of the
same, to be entrusted to Argentine or Italian sculptors resident there; realization of two plaster copies of the
scale model, one of which is to be sent in Argentina. The total budget available for the entire job, from the
plaster model to the placement, was fixed in 350,000 Italian lire.
11
For vintage Italian reviews on the two monuments, see e.g. respectively: Deabate (1927) and Kambo (1925); see also the
recent Gutierrez Viñuales (2004, pp. 55, 111,113,114). On the monument to Garibaldi, see also Barbara Viale in Fondazione
Casa America (2008, pp. 80-85).
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The construction work proved therefore to be the result of an «effective cooperation of Italian
and Argentine artists», gathered in the «sole intention of making the most solemn tribute of gratitude and
appreciation to the great patriot» (Comitato, 1923-1927, p. 15). Despite the opposition of De Barbieri, who
was in favor of an assignment through a public competition, the artistic committee preferred to entrust the
work directly to Arnoldo Zocchi: name suggested by the organizing committee, a well known artist in South
America; Buenos Aires had in fact recently inaugurated, in 1921, his colossal monument to Christopher
Columbus (Gutierrez Viñuales, 2004, pp. 91, 111, 115, 193, 290)12 (Fig. 4) a work strongly and generously
supported since 1910 by another illustrious emigrate from Liguria, the recalled Antonio Devoto (Lavagna
1833 - Buenos Aires 1916), «the richest millionaire Italian of South America» of the early twentieth century
(Zuccarini, 1910, p. 337 and passim)13 as a tribute of the Italian community to the Argentine Republic on the
occasion of the centenary of its independence.14
«By its sheer initiative and without request for commitment» (Comitato, 1923-1927, p. 16), for the
monument to Belgrano Zocchi had already prepared three plaster models: two representing the general still
on horseback and one on the rearing horse. It was then chosen the latter solution, albeit with variations and
simplifications, as revealed by the comparison between finished work and the sketch, published in 1925 (Fig.5)
— from the front it was eliminated the allegorical statue of the Argentine Republic, accompanied by numerous
figures in movement and bearing the flag, held instead by the general on horseback— (La posa, 1925, p. 414)
while, in the building process, disappeared also notwithstanding the initial approval three reliefs, that were to be
placed on three separate sides of the base, with episodes related to the armed institutions, the Argentine national
education and the brotherhood between the two nations (Tartagliozzi, 1925, p. 737) (Fig. 6). The selected plaster
model was also submitted to a final technical and artistic commission in the Genoa, consisting, among others, by
some prominent local personalities, the engineers Cesare Gamba and Giuseppe Oddone, the already mentioned
De Barbieri and the director of the Office of Fine Arts of the City, Orlando Grosso.
During both the official ceremony in April 1925 and the opening of 1927, many of the speakers
made reference to the Columbus monument of Zocchi, as well as to the one dedicated to Giuseppe Mazzini, by
Giulio Monteverde, inaugurated in 187815 (Fig. 7), and the already mentioned Garibaldi’s one of Maccagnani
(Fig. 8), all the three of them in the Argentine capital. Those monuments were in fact also erected thanks to
funds raised among the Italian community in South America; they were cited in view of a commemorative
reciprocity between the two nations and between the two cities, Buenos Aires and Genoa. Symbol of a
12
13
See Raúl Rivera Escobar in Leonardini (2008, pp. 41-44).
On Antonio Devoto see also: Scardin (1903, pp. 513 ff.), Comitato (1906, pp. 230-234, 665-683, 1080-84, 1103-1143),
Petriella & Sosa Miatello (1976, pp. 466-468), Scarzanella (1991), Fondazione Casa America (2006, p. 223), Costa (2007).
On the relevance of the initiative see e.g. Zuccarini (1910, pp. 448-449) which records also the interesting list of the
subscribers.
15
Italian vintage reviews on this monument are e.g. Belle Arti (1876) and Il Monumento (1878); see also Gutierrez Viñuales
(2004, pp. 55, 111); on the two monuments to the heroes of the Risorgimento: Sborgi (2005).
14
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Figure 4
Figure 6
Figure 4. (April 17, 1925). Laying of the foundation
stone for the Monument to Manuel Belgrano,
[Fotografía], Genoa, Italy. Doc SAI - Archivio fotografico
del Comune di Genova.
Figure 5. Zocchi, A. (1925). Sketch for the Monument to
Manuel Belgrano. [Plaster model]. Genoa, Italy. (La posa
della prima, 1925, p. 414).
Figure 6. Zocchi, A. (1925). Sketch for the Monument
to Manuel Belgrano. [Plaster model]. Genoa, Italy.
(Tartagliozzi, 1925, p. 737).
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Figure 5
226
cultivated Italian identity, but also symbols of the exceptional value and role of Liguria in the world, as well
as the testimony of a bond with the motherland never lost, along with the sculpture dedicated to Belgrano in
Genoa, those other monuments also harked back to that phenomenon of dual belonging, or splitting of the idea
of homeland which appeared then most widespread among elites Ligurian emigrants, before the inevitable
future progressive loss of the original identity and of a definitive integration (Lazzarino Del Grosso 2006, p. 37).
The whole construction of the monument to Belgrano was indeed marked by a spirit of full
cooperation and sharing of results between Argentina and Italy: the granite for the base was supplied from
the quarries of Sierra Chica, a town 600 km south of Buenos Aires, shipped for free by sea by vessels
belonging to Italian shipping companies (Il monumento, 1927) and then worked in Italy by the companies of
Giovanni Beretta in Carrara and of the Genoese Giuseppe Novi. The bronze for the statue and the flag was
also sent from Argentina: in 1926 it was provided by melting an historical cannon that Manuel Belgrano had
taken in 1813 from the Spanish in the battle of Salta (Il Monumento, 1926; Il bronzo, 1926); the ingots were
then brought to Naples at the foundry Laganà, who performed the «lost wax» casting. Finally from the same
plaster model a second, identical sculpture was cast, an Italian gift to the city of Rosario di Santa Fe (where
for the first time Belgrano had displayed the Argentine flag, and also a city inhabited by thousands of Italians,
many of whom were originally from Liguria, including Pinasco, president of the organizing committee).
As well significantly, the inauguration was held on October 12, 1927, anniversary of the discovery
of America (L’inaugurazione, 1927; Oliverio, 1927) (Figs. 9-10): the celebration was attended by the minister
Gallardo for Argentina and for Italy again by the king and, among others, commander Costanzo Ciano, gold
medal for military value, and marshal Caviglia; it went on for days –September and October 1927 were for
Genoa two «Argentine months», wrote a columnist! (Il monumento, 1928, p. 258)–.
The chronicles report that, concluded the Genoese ceremonies, the chairmen of the two committees
—Pinasco and Luiggi— visited the nearby Lavagna: this visit would probably give rise to the creation of a
new commemorative action, the Columbus monument for the seaside town from which came originally both
the Pinasco’s family and those of other famous personages, such as the remembered Giuseppe and Antonio
Devoto.16 Built with the substantial legacy of another Ligurian native of Lavagna, temporarily emigrated
with good luck in Buenos Aires, Angelo Bianchi (Lavagna 1841-1928), and thanks to a committee that would
have counted among its honorary members the same Luigi Luiggi and Santiago Pinasco, the monument was
inaugurated on October 12, 1930 (Comitato pel Monumento, 1931) (Fig. 11).
It is just a few kilometers from other three monuments, similarly dedicated to the great navigator: the
first one, located in Santa Margherita Ligure in 1892 by Odoardo Tabacchi (later moved near the sea in 1912) for
which, since 1899, the «Società Istruttiva Margheritese Ligure Cristoforo Colombo» had specifically 101); el
16
In that circumstance Pinasco and Luiggi inaugurated a plaque dedicated to the four brothers Gaetano, Antonio, Bartolomeo
and Tommaso Devoto, successfully emigrated to Argentina: Costa (2011). Many philanthropic initiatives were realized thanks
to this family in Lavagna and surroundings, including the Fondazione Antonio Devoto and Pio Ritiro for the elderly poor,
achieved thanks to a legacy of Giuseppe Devoto.
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Figure 7
Figure 8
Figure 9
Figure 11
Figure 7. Giulio Monteverde (1878). Monument to Giuseppe Mazzini. [Marble sculpture]. Buenos Aires, Argentina. (Comitato della Camera, 1906, p. 11).
Figure 8. Eugenio Maccagnani (1904). Monument to Giuseppe Garibaldi. [Marble sculpture]. Buenos Aires, Argentina. (Comitato della Camera, 1906, p. 20).
Figure 9. The inauguration of the Monument to Manuel Belgrano, (Preparation , October 12, 1927). Genoa, Italy. Doc SAI - Archivio fotografico del
Comune di Genova.
Figure 11. Arnaldo Zocchi (1930). Monument to Cristoforo Colombo. Lavagna, Italy. (Comitato pel Monumento a Colombo, 1931).
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Figure 10. The inauguration of the Monument to Manuel Belgrano, (unveiling, October
12, 1927). Genoa, Italy. Doc SAI - Archivio fotografico del Comune di Genova.
established, with the support of over a hundred people and the intention of financing other charities and
philanthropic, between Santa Margherita and Buenos Aires (Scarsella, 1914-1933, pp. 54-55, 56, 60, 101);
the second one, erected in Rapallo in 1914 by the Italo Argentine Arturo Dresco, made also with funds of
those who had emigrated and then happily returned (Rapallo, 1914; Gutierrez Viñuales, 2004, pp. 93, 117,
159, 193)17; and finally the bronze commissioned to the famous Italian sculptor Francesco Messina in 1935,
the result of a competition held also thanks to the legacy of a chiavarese emigrated and greatly enriched still
in Argentina, Mario Ravenna (Chiavari 1865 - Sestri Levante 1932) (Ragazzi, 1993).
All these sculptures are a significant presence in the Tigullio area, in which the future fortunes
of tourism have largely obscured the story of the substantial emigration from the turn of the nineteenth and
twentieth century and its repatriations (Ferro, 1991; Saracco, 1992; Olcese, 2013).
17
This is the epigraph: «A Cristoforo Colombo i reduci dall’America 1914».
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References
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M. Cambi (Eds.), Il Castello Mackenzie a Genova. L’esordio di Gino Coppedè (pp. 33-45).
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233
Has a degree in Art History (1983, University of Genoa); Ph.D in Art History (1993, University of Milan);
Contemporary Art History post graduate specialization course (1994-1997) and post doctoral fellowship at the
University of Genoa (1994-1996). Taught Contemporary Art History as adjunct professor (1998-2004) at the
Faculty of Architecture in Genoa. Hired in 1986, from 2000 she works as art historian at the Italian Ministry
of Cultural Heritage (Ministero dei Beni e delle Attività Culturali e del Turismo). Her fields of research
include the study of sculpture and architecture and the analysis of the Genoese ruling class’ patronage and art
collecting between the 19th and the 20th century. Author of more than 150 papers and publications.
ISSN: 2410-1923

From Liguria to Argentina and back

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