Musei di Villa Torlonia - Casino Nobile
Address
Contacts
Opening times
From Tuesday to Sunday 9.00-19.00
24 and 31 December 9.00-14.00
1 January 2024 timetable to be defined
Last admission 1 hour before closing time
Closed
Monday, 1 May, 25 December
For updates and guidelines please check the >official website
Entrance for the disabled
For further information please consult the page Disabled people Access
ALWAYS CHECK the WARNINGS PAGE before planning your visit in the museum
Information
> Buy online purchase tickets for museums and exhibitions online
> Tickets and audio guides admission tickets and audio guides, prices and information for visiting the permanent collection and temporary exhibitions. Free entry the first Sunday of the month
> Free and reduced tickets free and reduced tickets in the Civic Museums
> MIC card is a 5 euro card that includes free admission in the Civic Museums for 12 months
> Agreements facilities and events concession agreements
> Terms and conditions of access information and services for the public
Free cloakroom for bags, schoolbags, buggies and umbrellas
> Bookshop
> Caffeteria - restaurant La Limonaia
> Disabled people Access - services available:
- accessible entrance, pebble path
- wheelchair path partially accessible
- accessible toilet
- services for blind or partially sighted persons - video at the entrance
Agreement with
Roma Pass: free of charge presenting a valid Roma Pass as one of the two free amissions included in the pass. A concessionary ticket is granted if used for the third museum onwards. Bookshop: 10% discount
Today's events
Scheduled events
Description
Many painters worked on the decoration, among them Podesti and Coghetti, as well as sculptors and plasterers of the schools of Thorvaldsen and Canova. From 1925 to 1943, the house and grounds were rented to Benito Mussolini. During this time an anti-gas shelter and an anti air-raid bunker were created in the basement.
The restored building holds, on its two display floors, the Museo della Villa, with period sculpture and furnishings.
On the second floor is the Museo della Scuola Romana, displaying paintings, sculpture and drawings by the artists of that group. The Roman School did not represent a single artistic current, but rather identified a common conception of what a work of art was. The conception was held by those artists and writers (mostly from Rome or who took up residence there) who rejected the rhetorical vision of the Novecento movement founded in Milan by Margherita Sarfatti and who embraced contemporary ideals and manners of representation. However, their production differed: there was the purism of Donghi, Trombadori and Francalancia, who worked within the current of the ‘Return to Order’ after World War I and avantgardism that typified the decade 1910–20, the expressionism of Mafai and Scipione, whose research was for vibrant signs and vivid luminosity (often, in Scipione’s case, with emphasis on the Neo-Baroque), the tonalism of Cagli, Cavalli and Capogrossi (and Mafai in the 1930s), the strong realism of Ziveri, Pirandello and the early Guttuso, and the technical experimentation and symbolism/metaphysics of Ferruccio Ferrazzi.
The background was therefore extremely varied and marked by different experiences, all of which however derived from the desire for a new realism. Another important aspect of those years was the renewal that took place in sculpture, which also occurred with notable differences between the sculptors themselves but who the shared the desire to escape rhetoric and monumentalism. Mirko, Leoncillo, Mazzacurati, Fazzini and Antonietta Raphaël fully represented this attempt to break away, both in the techniques they used and subjects they portrayed. Their works were very often marked strongly by expressionism or, in portraiture, by the search for a more effective form of realism. It was, therefore, an anti-celebrative and anti-academic form of sculpture.