{"id":2931,"date":"2023-09-16T12:18:14","date_gmt":"2023-09-16T10:18:14","guid":{"rendered":"https:\/\/tulliovietri.com\/?page_id=2931"},"modified":"2025-09-07T11:52:03","modified_gmt":"2025-09-07T09:52:03","slug":"chronology","status":"publish","type":"page","link":"https:\/\/tulliovietri.com\/en\/chronology\/","title":{"rendered":"Chronology"},"content":{"rendered":"
Tullio Vietri<\/div>\n

Chronology Biography <\/h1>\n
Chronology Biography <\/div>\n
A brief biographical excursus<\/div>\n

\"\"<\/p>\n

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1927<\/div>\n

23 gennaio<\/p>\n<\/div>\n

Tullio Vietri was born in Oderzo (Treviso), son of Gerardo Vietri and Anna Filomena Giso. <\/a><\/div>\n
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1938<\/div>\n<\/div>\n
Still a child, Tullio left Oderzo due to his father\u2019s work relocation. Gerardo’s career began at the magistrate’s court in Oderzo and continued for a few years in Parma and Piacenza. Later he was transferred to the magistrate’s court in Bologna. The family settled in Bologna and took up residence in Strada Maggiore, where he became friends with two Bolognese painters, Pietro Pietra and Otello Mombelli. Tullio, who had been drawing and painting in watercolors since his early childhood, thus began to learn and practice regularly; he also admired the early works of Giorgio Morandi.<\/a><\/div>\n
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1941<\/div>\n<\/div>\n
During his studies at the Gymnasium he received, as a prize, enrolment in the afternoon course \u201cPlastica\u201d (\u201cPlastics\u201d) at the Istituto Statale d’Arte<\/a><\/div>\n
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1943<\/div>\n<\/div>\n
He gets engaged to student Anna Maria Reggiani, daughter of the architect Francesco Reggiani. In the same year he met and began frequenting two other well-known Bolognese artists, Nino Bertocchi and Alfredo Protti. Collector Giuseppe Guatteri bought from him a dozen pieces, dedicated to the \u201cEgloghe di Primavera\u201d (\u201cSpring\u2019s Eclogues\u201d); these are the first pictorial works he sold.<\/a><\/div>\n
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1945<\/div>\n<\/div>\n
He met Augusto Maiani, painter and caricaturist, and attended his atelier for a quinquennium. His painting production intensified and accompanied him throughout his high school, universitary and academic studies.<\/a><\/div>\n
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1946<\/div>\n<\/div>\n
In the artistic field, he studied the drawings of Raphael and Michelangelo. At the same time, he devoted himself to studies of literature (Leopardi, in particular), history and history of religions, initiating a path that over the years would lead him towards psychology and sociology, and later on towards philosophy, aesthetics and linguistics. <\/a><\/div>\n
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1947<\/div>\n<\/div>\n
He enrolled in the School of Nude directed by Ilario Rossi at the Academy of Fine Arts in Bologna, which he attended until the 1951\/52 academic year: he studied artistic anatomy, osteology and myology; he began a more in-depth aesthetic investigation of Leonardo, Michelangelo and Titian. He independently studied Giotto, Giovanni Pisano, Ambrogio Lorenzetti and Masaccio. <\/p>\n

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1948<\/div>\n<\/div>\n
He studied the artistic work of the Venetian Renaissance painters Carpaccio, Giovanni Bellini, Tintoretto. He also began to tackle modern and contemporary painters who he would study in greater depth in the following decade. He took part in discussions on the Fronte Nuovo delle Arti (New Arts Front), but without sharing its positions and aesthetic-ideological oppositions.<\/a><\/div>\n
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1949<\/div>\n<\/div>\n
He joined the Court of Bologna as a clerk of the court and married Anna Maria Reggiani. He took an increasingly active part in the national artistic life. He exhibited at the \u201cSiena Prize\u201d painting competition. He met Carlo Corsi, a well-known artist from Bologna.<\/a><\/div>\n
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1950<\/div>\n<\/div>\n
His daughter, Silvia, is born. He began studying the geometric decomposition of perspective space. Between 1950 and 1951, he produced three series of oils on panels dedicated to Picasso, Morandi and Mondrian, re-elaborating their aesthetic codes. He took part in the \u201cIII Exhibition of the Regional Union of Painters and Sculptors\u201d in the Salone del Podest\u00e0 in Bologna. <\/a><\/div>\n
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1951<\/div>\n<\/div>\n
He receives his first invitations to national exhibitions: \u201cTerni Prize\u201d at the Palazzo della Camera di Commercio di Terni, in which he also participated in ’54 and ’56; \u201cVado Ligure Prize\u201d (presenting the piece \u201cil lavoro\u201d, \u201cThe work\u201d) at the Palazzo Comunale di Vado Ligure (Savona). He took part in the exhibition of works donated to fund the Polesine flood victims, at the \u201cCircolo Artistico\u201d in Bologna. Some of his paintings entered art collections in Bologna, including that of Ezio Piacentini. He created his first black and white pieces, dedicated to the industrial suburbs. Tullio Vietri received a request from The Historical Archive of Contemporary Arts (A.S.A.C.) of the Venice Biennale, signed by Umbro Apollonio, for information on his artistic activity.<\/a><\/div>\n
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1952<\/div>\n<\/div>\n
He was introduced by Ilario Rossi to Giorgio Morandi. Bologna\u2019s Academy of Fine Arts sent 5 of his drawings to the \u201cNational Exhibition of the Academy of Fine Arts\u201d in Naples; he took part in the \u201cNational Exhibition of the Academy of Fine Arts\u201d in Naples and in the \u201cSan Martino Painting Prize\u201d with the work \u201cVestire gli ignudi\u201d (\u201cTo clothe the naked\u201d) in Noceto (Parma). <\/a><\/div>\n
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1953<\/div>\n<\/div>\n
Tullio Vietri becomes a member of two Bolognese political and cultural associations: \u201cLa Consulta\u201d and the \u201cCircolo di Cultura\u201d. He visited Picasso\u2019s exhibition held at Palazzo Reale in Milan.<\/a><\/div>\n
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1954<\/div>\n<\/div>\n
He participated in \u201cSelections of Bolognese painters\u201d at the Circolo di Cultura Gallery in Bologna. He meets Francesco Arcangeli and Giorgio Bassani at meetings organized by \u201cLa Consulta\u201d. <\/a><\/div>\n
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1955<\/div>\n<\/div>\n
Visited the Van Gogh exhibition held at the Palazzo Reale in Milan. He received a request from the National Quadrennial Art Exhibition in Rome for information on his artistic activity.<\/a><\/div>\n
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1956<\/div>\n<\/div>\n
Participated in the II Exhibition of Contemporary Art held in the Salone del Podest\u00e0 in Bologna; the piece \u201cPeriferia\u201d (\u201cSuburbs\u201d) was included in the catalog.<\/a><\/div>\n
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1955\/
’57<\/div>\n<\/div>\n
He studied the artistic work of Durer, Hals, Rembrandt, Velazquez, El Greco; investigated Goya, Daumier and Grosz; he studied in depth Picasso and Giacometti. Debated on problems of art renewal at the \u201cCircolo della Cultura\u201d with Aldo Borgonzoni, Gabriele and Gianni Celati, Emilio Contini. <\/a><\/div>\n
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1957<\/div>\n<\/div>\n
He participated in the \u201cIII Painting Prize Amedeo Modigliani\u201d in Livorno.<\/a><\/div>\n
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1958<\/div>\n<\/div>\n
He intervened, with an article, in the aesthetic debate \u201cAbstract Art and Figurative Art\u201d, upon invitation of \u201cLa Squilla\u201d in Bologna. It is his ethical-aesthetic manifesto, to which he always remained faithful.<\/a><\/div>\n
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1959<\/div>\n<\/div>\n
Member of the \u201cNational Federation of Artists, Painters and Sculptors\u201d since 1949, he was appointed Provincial Secretary of the Bologna section. For several years, he helped organize the regional \u201cAutumn Exhibitions\u201d in Bologna at Palazzo Re Enzo and the inter-regional \u201cContemporary Art Exhibitions\u201d at the Civic Museum. He was invited to the \u201cNational Drawing Exhibition\u201d in Florence and to the \u201cX Prize of the City of Pontedera\u201d in Pontedera (Pisa). The \u201cRoyal Museums of Fine Arts of Belgium\u201d in Brussels acquired the work \u201cBarche in darsena\u201d (\u201cBoats at the dock\u201d, wax drawing).<\/a><\/div>\n
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1960<\/div>\n<\/div>\n
He organised a debate on contemporary art at the \u201cCircolo di Cultura\u201d in Bologna, inviting Antonello Trombadori, Francesco Arcangeli and Stefano Bottari. He met Mario De Micheli, Aligi Sassu, Ernesto Treccani, Raffaele De Grada, Armando Pizzinato, Emilio Vedova and Primo Conti. He joined the Commission for the Protection of Natural Beauties at the Superintendence of Monuments in Bologna appointed by the Ministry of Education and in the same year he founded with Aldo Borgonzoni, Dino Boschi, Emilio Contini and Vittorio Landi the Officina-Galleria Bianco e Nero (The Workshop-Gallery Black and White), an exhibition space to reaffirm the importance of drawing in modern art. He was invited by Giovanni Colacicchi to the \u201cXI National Exhibition Fiorino Prize\u201d in Florence; he took part in the \u201cI Art Exhibition: The Marzabotto Martyrdom\u201d in the Municipal Palace in Marzabotto (BO) and in the \u201cXIII Suzzara Prize\u201d collective exhibition in Suzzara (MN). He was invited to \u201cItalian Panting\u201d an international exhibition in Los Angeles (USA). Invited by the \u201cCircolo della Cultura\u201d in Bologna, Tullio Vietri exhibited 28 paintings in his first personal exhibition; the exhibition was presented by Aligi Sassu and visited by Giorgio Morandi, Carlo Corsi and Tono Zancanaro, among others.<\/a><\/div>\n
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1961<\/div>\n<\/div>\n
He was appointed Regional Secretary for Emilia by the \u201cNational Federation of Artists Painters and Sculptors\u201d. He took part in the investigation about Censorship and entertainment in Italy, promoted and published by the magazine \u00abIl Ponte\u00bb, along with intellectuals such as Nicola Abbagnano, Enzo Biagi, Dino Buzzati, Italo Calvino, Pietro Germi, Massimo Mila, Pier Paolo Pasolini, Mario Praz, Carlo L. Ragghianti, Natalino Sapegno, Roberto Tassi, Antonello Trombadori, Giuliano Vassalli and Bruno Zevi. He was invited to the \u201cXII National Exhibition Fiorino Prize\u201d in Florence, to the \u201cI National Exhibition of Contemporary Painting\u201d in Marsala (TP), to the \u201cMarzabotto Prize for Resistance\u201d in Marzabotto (BO); he won an award at the \u201cXIII Suzzara Prize\u201d collective exhibition in Suzzara (MN). He was also invited to \u201cThe Italian drawing\u201d, a collective traveling exhibition in Berlin (DDR) – Bucharest (RO) and to \u201cItalian Painting\u201d international exhibition in Los Angeles (USA).<\/a><\/div>\n
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1962<\/div>\n<\/div>\n
\u201cFor Spain\u2019s Freedom\u201d collective exhibition in Rome, \u201cCity of Fiesole Prize\u201d collective exhibition in Fiesole, Florence; \u201cHomage to Dante by today’s Italian artists\u201d, traveling collective exhibition in Belgium, Switzerland, the Netherlands, Germany and Poland; he was awarded the \u201cXIV Suzzara Prize\u201d at the collective exhibition in Suzzara (MN); personal exhibition at the Ghelfi Gallery in Verona; personal exhibition at Verritr\u00e8 Gallery in Milan. <\/a><\/div>\n
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1963<\/div>\n<\/div>\n
\u201cXV Suzzara Prize\u201d collective exhibition in Suzzara (MN); personal exhibition at La Cassapanca Gallery in Rome.<\/a><\/div>\n
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1964<\/div>\n<\/div>\n
\u201cPremio della Pubblica Istruzione per la Giovane Pittura Italiana\u201d (\u201cPublic Education Prize for Young Italian Painting\u201d) collective in Rome (equal first winner). \u201cL\u2019arte contro la mafia\u201d (\u201cArt against Mafia\u201d) collective exhibition in Palermo, equal first winner, his piece \u201cBloccata l’Antimafia\u201d (\u201cTo block the Antimafia\u201d) became the cover image of the volume \u201cAntologia della Mafia\u201d (\u201cAnthology of the Mafia\u201d) by Nando Russo, published by Il Punto Edizioni, Palermo 1964; \u201cXVI Suzzara Prize\u201d collective exhibition in Suzzara (MN); \u201cDisegno politico\u201d(\u201cPolitical Drawing\u201d) collective exhibition in Reggio Emilia; national exhibition \u201cLa parete\u201d (\u201cThe wall\u201d) in Milan; personal exhibition at De Foscherari Gallery in Bologna.<\/a><\/div>\n
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1965<\/div>\n<\/div>\n
He took part in the \u201cIX Quadriennal of Art\u201d in Rome, ’65-’66 edition, in the collective exhibition \u201cL’uomo, il lavoro e la citt\u00e0\u201d (\u201cThe man, the job and the city\u201d) promoted in Rome by the ACLI. He also participated in the \u201cXVII Suzzara Price\u201d in Suzzara (MN), in the national exhibition \u201cIl soldato Italiano nell’arte\u201d (\u201cThe Italian soldier in art\u201d) at Palazzo Barberini in Rome, in the \u201cPremio Nazionale di Pittura XX Resistenza\u201d (\u201cNational Painting Prize XX Resistance\u201d) in Agliana (PT); \u201cArte italiana\u201d (\u201cItalian Art\u201d) in Zagreb (YU); he had a personal exhibition at the Cavalletto Gallery in Brescia. He competed (with De Chirico, Carr\u00e0 and 50 other leading Italian artists) in the illustration of the \u201cDivina Commedia\u201d published by Aldo Martello Editore, Milan, 1965, as part of the official celebrations for the seventh centenary of Dante’s birth: his wax drawing illustrates the Accidiosi from the XVIII Canto of Purgatory.<\/a><\/div>\n
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1966<\/div>\n<\/div>\n
\u201cXVII National Exhibition Fiorino Prize\u201d in Florence; \u201cXVIII Suzzara Prize\u201d, collective exhibition in Suzzara (MN); \u201cCitt\u00e0 del tricolore\u201d (\u201cTricolour City\u201d) collective exhibition in Reggio Emilia; \u201cFor Vietnam\u201d collective exhibition in La Spezia; he is invited to the exhibition \u201cPittura Italiana dal Futurismo ad oggi\u201d (\u201cItalian Painting from Futurism to the Present Day\u201d) at the Museum of Modern Art in Paris (FR). He meets Istvan Solymar, vice-director of the Museum of Modern Art in Budapest (who writes an essay on Tullio Vietri’s painting). <\/a><\/div>\n
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1967<\/div>\n<\/div>\n
\u201cLa Chiesa e la Pace secondo lo spirito del Concilio Vaticano II\u201d (\u201cThe Church and Peace according to the spirit of the Second Vatican Council\u201d) collective exhibition in Viterbo. Solo exhibition at the Acquasola Gallery in Genova.<\/p>\n

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1968<\/div>\n<\/div>\n
In the company of Concetto Pozzati, Vasco Bendini, Pietro Bonfiglioli, Gianni Scalia he promoted the contestation of the \u201c20th-century Bolognese Painting Exhibition\u201d organised by the Municipality of Bologna. He was elected National Secretary of the \u201cNational Federation of Artists, Painters and Sculptors\u201d (with Ernesto Treccani, Gastone Breddo, Enzo Brunori, Ennio Calabria). He was invited by the Municipality of Venice to speak at the conference held at Ca’ Giustinian \u201cFor a new Biennale. Challenges and proposals\u201d along with Ugo Pirro, Luigi Nono, Luigi Pestalozza, Alberto Gianquinto, Vittorio Basaglia, Vincenzo Eulisse, Ennio Calabria, Girolamo Federici, Giorgio Trentin, Duilio Morosini, Bruno Schacherl and Dario Micacchi. Solo expositions at the Spezia66 Gallery in La Spezia, Il Brandale Gallery in Savona, La Sfera Gallery in Palermo and Il Centro Gallery in Iesi (Ancona).<\/a><\/div>\n
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1969<\/div>\n<\/div>\n
Along with Concetto Pozzati, Vasco Bendini, Vittorio Mascalchi and others, he gathered the assembly of Bolognese intellectuals in Bologna’s Palazzo Montanari to contest the cultural institutions and organized the first \u201cInternational Exhibition of Contestation\u201d at the Civic Museum, open to the free participation of artists from all over Europe and the United States of America. He began writing essays on art problems, collaborating with magazines such as \u201cQuestioni d’Arte\u201d from La Spezia, \u201cArte e Societ\u00e0\u201d from Rome, the \u201cLaboratorio\u201d from Bologna (Giorgio di Genova and Raffaele de Grada were among his collaborators). He was invited to the collective \u201cExhibition for the Reconstruction of the Hanoi Library\u201d in Milan and other Italian cities, promoted by the Bertrand Russel Committee; to the collective \u201cInternational Exhibition for the Freedom of Greece\u201d in Bologna and other Italian cities; one of his works was present in \u201cTestimonies in the Pomini Collection\u201d at the Galleria del Milione in Milan. <\/a><\/div>\n
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1970<\/div>\n<\/div>\n
Personal exhibition (with 29 paintings) to celebrate the 1st of May, invited by the Camera del Lavoro of Carpi at the Galleria d’Arte Moderna del Teatro in Carpi (Modena).<\/a><\/div>\n
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1971<\/div>\n<\/div>\n
Always in the company of Concetto Pozzati, Vasco Bendini, Vittorio Mascalchi and others he organized the second \u201cInternational exhibition of contestation\u201d, an exhibition of artwork slides (to underline the rejection of the commercialisation of art). Illustrious personalities such as Cesare Musatti, Fortunato Bellonzi, Luigi Rosiello, Glauco Carloni, Gianni Celati intervened, giving lectures on the problems of the psychology of art, the sociology of art, linguistics, art history and literature. He was invited to represent Italy at the \u201cInternational Exhibition for Angela Davis\u2019 Freedom\u201d in Los Angeles (USA). At the invitation of the publishing house Il Foglio of Macerata he publishes a monograph of 16 graphic works dedicated to \u201cLe Piazze d’Italia\u201d (\u201cThe Italian squares\u201d).<\/a><\/div>\n
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1972<\/div>\n<\/div>\n
He took part in two important international collective exhibitions: the \u201cInternational Art Manifesto for the Legal Defence of Political Prisoners\u201d in Los Angeles (USA) and, invited by Edith Russel, in the \u201cArt Exhibition for the Centenary of Bertrand Russel’s Birth\u201d collective exhibition in Nottingham (GB).<\/a><\/div>\n
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1973<\/div>\n<\/div>\n
He resigned as National Secretary of the \u201cNational Federation of Artists, Painters and Sculptors\u201d. He was invited to the \u201cInternational Art Exhibition\u201d curated by the International Art Manifesto, collective exhibition in Berkeley (USA). <\/p>\n

<\/a><\/div>\n

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1974<\/div>\n<\/div>\n
Resigns from the Court of Law thanks to the law on the displacement of management careers in the State.<\/a><\/div>\n
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1975<\/div>\n<\/div>\n
He took part in the exhibition \u201cInterpretazioni figurali del Vangelo\u201d (\u201cGospel\u2019s Figural Interpretations\u201d) organised by the Assessorato alla Cultura at the Palazzo delle Esposizioni in Rome, invited (with 40 other artists, including Cagli, Guttuso, Manz\u00f9, Saetti, Sassu, etc.) by Fortunato Bellonzi on behalf of the National Art Quadriennal in Rome, the Assessorato alla Cultura in Rome and the Cultural Committee of the Holy Year. The piece \u201cDio mio, Dio mio, perch\u00e9 mi hai abbandonato?\u201d (\u201cMy God, my God, why did you abandon me?\u201d, pastel on paper) was printed in the catalog edited by Fortunato Bellonzi and published by De Luca Editore, Rome: it was later acquired by the Collection of Modern Religious Art of the Vatican Museums. <\/a><\/div>\n
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1976
1994<\/div>\n<\/div>\n
After years of artistic visibility and organizational-cultural commitment, Tullio Vietri experienced the conditions of marginality: he excluded himself and was excluded from the local and national art scene. Nevertheless, he tirelessly continued his research and artistic production, which he refused to exhibit and circulate, with some rare exceptions. For several years he continued to publish articles and images in \u00abIl Resto del Carlino\u00bb, \u00abl\u2019Unit\u00e0\u00bb, \u00abAvanti\u00bb, and \u00abAvvenire\u00bb. <\/a><\/div>\n
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1976<\/div>\n<\/div>\n
He spoke at the convention for the renewal of the \u201cSuzzara National Exhibition\u201d in Suzzara (Mantua). Along with Giovanni Gaibari and Otello Brocca he founded the \u201cCooperativa Operatori Arti Visive\u201d (\u201cVisual Arts Operators’ Cooperative\u201d, also known as C.O.A.V), based in Bologna, but with a national outlook. Armando Pizzinato will also be its president. C.O.A.V, as a place of free confrontation between artists and intellectuals, aimed to reaffirm the importance of drawing, starting from engraving. Vietri participated in the \u201cSymposium Intergrafik\u201d in Berlin (DDR).<\/a><\/div>\n
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1978<\/div>\n<\/div>\n
He spoke at the conferences \u201cProduction and Work in the Visual Arts\u201d at the Palazzo della Provincia in La Spezia, and \u201cThe Artists’ Union\u201d at the Palazzo della C.G.I.L. in Prato.<\/a><\/div>\n
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1980<\/div>\n<\/div>\n
He took part in the \u201cInternational Intergrafik Exhibition\u201d in Berlin (the piece \u201cItalians\u201d was published in the catalog) and then for several years in the \u201cExhibition of Humour and Satire\u201d in Gabrovo (RO).<\/a><\/div>\n
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1982<\/div>\n<\/div>\n
He organized (defining its regulations with criteria similar to those of the ’69-’71 protest exhibitions) the National Exhibition \u201cCooperation and Society in crisis\u201d at the invitation of the National Association of Consumer Cooperatives, held at Rocca Paolina in Perugia. <\/a><\/div>\n
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1983<\/div>\n<\/div>\n
He held a solo exhibition, \u201cVietri, arte-automobile\u201d (\u201cVietri, art-automobile\u201d). This exhibition-happening exhibited 59 paintings in the exhibition hall of the Fiat Branch in Bologna, at the time in Via Mazzini. <\/a><\/div>\n
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1988<\/div>\n<\/div>\n
He founded the six-monthly magazine \u201cCritica Radicale, per una nuova cultura, per una nuova arte\u201d (\u201cRadical Criticism, for a new culture, for a new art\u201d) and directed it until the end of 1999. This self-financed biannual magazine was conceived as a space for free discussion on ethical, aesthetic, historical and cultural issues, and its main contributors included Vittoria Corti from Florence, Lucio Zinna from Palermo, Aleramo Hermet and Paola Ratticogni from Milan.<\/a><\/div>\n
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1989<\/div>\n<\/div>\n
For the bicentenary of the French Revolution, the painters of the Circolo Antonio Gramsci of Reggio Emilia invited Tullio Vietri to report on the theme \u201c1789: was art revolutionary in form and content, or merely celebratory and functional to a great historical event?\u201d<\/a><\/div>\n
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1994<\/div>\n<\/div>\n
Invited to the collective exhibition \u201cContemporary Art in Bologna. First Biennal\u201d in Palazzo Re Enzo in Bologna, organized for the Centenary of the Chamber of Labour. To celebrate the occasion, the Chamber of Labour itself publishes the booklet \u201cTullio Vietri – Cronache Italiane dal 1948 al 1993\u201d (Tullio Vietri – Italian chronicles from 1948 to 1993\u201d)<\/a><\/div>\n
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1995
2008<\/div>\n<\/div>\n
Vietri experienced a new period of visibility in the Veneto and Friuli Venezia Giulia regions, where his latest paintings were presented at various exhibitions<\/a><\/div>\n
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1995<\/div>\n<\/div>\n
He was invited by the Pinacoteca Alberto Martini of Oderzo (TV) to the collective exhibition \u201cI Pittori Opitergini della Pinacoteca\u201d (\u201cOpitergini Painters of the Pinacoteca\u201d) where he exhibited the pieces \u201cCampagne Polesane\u201d (\u201cPolesine Countryside\u201d), 14 wax drawings of the 20 that he later donated to the museum institution.<\/a><\/div>\n
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1997<\/div>\n<\/div>\n
Opening of the \u201cPittura Moderna e Contemporanea Opitergina Gallery\u201d at the Pinacoteca Alberto Martini at Palazzo Foscolo, in Oderzo (Treviso). The exhibition also features graphic and pictorial pieces by Tullio Vietri. The Pinacoteca Alberto Martini and the Municipality of Oderzo organized the anthological exhibition \u201cTullio Vietri, Italian chronicles from 1957 to 1997\u201d with around a hundred paintings on display. The exhibition\u2019s organization and catalog are curated by Roberto Costella. The artist donated 143 works to the Municipality of Oderzo, which committed to found the Tullio Vietri Museum and confer honorary citizenship to Vietri. \u201cCritica Radicale\u201d, no. 2 year IX, published Fulvio Villari’s article \u201cAnthological exhibition dedicated to Tullio Vietri and foundation of the Tullio Vietri Museum in his hometown\u201d.<\/a><\/div>\n
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2002<\/div>\n<\/div>\n
The \u201cTullio Vietri Museum\u201d was inaugurated at the Oderzo Civic Library (TV). The Museum welcomes the works donated by the artist to the Municipality of Oderzo (a total of 163 works, including those from 1995). The installation, developed on three exhibition floors, was curated by Roberto Costella. Simultaneously was presented the monograph \u201cTullio Vietri. Opere 1960-1980 \/ 1980-1990 \/ 1990-1997\u201d (3 volumes of 150-120-180 pp.) by Roberto Costella, Centrostampa editions, Oderzo (TV) 2001. An extensive report of the event was published on \u201cIl Dialogo\u201d (Oderzo) by Arturo Benvenuti and on in \u201cIl Momento\u201d (Pordenone) by Angelo Bertani.<\/a><\/div>\n
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2003<\/div>\n<\/div>\n
Vietri participated in the XII Friulian contemporary art exhibition \u201cHicetnunc\u201d, with the personal exhibition \u201cTullio Vietri. Biblia Pauperum\u201d set up in the Salone abbaziale of Santa Maria in Silvis in Sesto al Reghena (PN), curated and presented by Roberto Costella. About sixty pieces are exhibited, most of them created for the occasion. Tullio Vietri was present and during the \u201cMeeting with the author\u201d he talked to the public about the exhibition and his painting. <\/a><\/div>\n
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2007<\/div>\n<\/div>\n
On the occasion of the artist’s 80th birthday, the solo exhibition \u201cTullio Vietri. Ut Pictura Poesis\u201d was organized at the Antoniano Exhibition Hall in Bologna, curated and presented by the author himself and Roberto Costella. Forty three pictorial works executed over the last decade were on display.<\/a><\/div>\n
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2008
2016<\/div>\n<\/div>\n
Due to serious health problems, Vietri had to give up his study and easels and limit himself to reading and drawing, in the library, between domestic walls. In 2014, the progression of his illness led him to give up all his activities, although he was still completely lucid.<\/a><\/div>\n
\n
\n
2010<\/div>\n<\/div>\n
The poet Gian Mario Villalta, contacted by Gianni Pignat, wrote the critical text \u201cQuel che resta del corpo\u201d (\u201cWhat remains of the body\u201d) referring to the Italian piazzas (squares) drawn by the artist. The booklet \u201cE adesso dove, spogliato delle ombre, dove?\u201d (\u201cAnd now where, stripped of shadows, where?\u201d), with four drawings by Tullio Vietri and a poem by Gian Mario Villalta, edited by Gianni Pignat, Liberinto editions of Pordenone, is published.<\/a><\/div>\n
\n
\n
2012<\/div>\n<\/div>\n
At the Pordenone Civic Library, on the occasion of the literary festival \u201cPordenone Legge\u201d, the personal exhibition \u201cSono, persone e non cose\u201d (\u201cThey are, people not things\u201d) is presented, with an exhibition of fifty pieces by Vietri, twenty of which are accompanied by the interpretation of as many Italian poets chosen by Gian Mario Villalta. The event is curated by Ofelia Tassan Caser, Gianni Pignat and Roberto Costella, the catalog was edited by Ofelia Tassan Caser. At the end of the exhibition, the works were donated to the Pordenone Civic Library. The painting \u201cDio mio, Dio mio perch\u00e9 mi hai abbandonato?\u201d (\u201cMy God, my God, why did you abandon me?\u201d) realized in 1974 was donated to the Duomo Museum in Oderzo.<\/a><\/div>\n
\n
\n
2014<\/div>\n<\/div>\n
The Isontina State Library in Gorizia re-proposed the Pordenone personal exhibition \u201cSono, persone e non cose\u201d (I am, people not things), consisting of fifty works, of which twenty interpreted by twenty poets. Speech by Marco Menato and presentation by Roberto Costella. <\/a><\/div>\n
\n
\n
2015<\/div>\n<\/div>\n
Donation of the drawing \u201cDio mio, Dio mio perch\u00e9 mi hai abbandonato?\u201d (\u201cMy God, my God, why did you abandon me?\u201d), from 1974, to the Diocesan Museum of Sacred Art in Pordenone <\/a><\/div>\n
\n
\n
2016<\/div>\n

23 April<\/p>\n<\/div>\n

Tullio Vietri passed away in his home in Bologna. The civil funeral took place on April 27 at the family chapel in Oderzo. The artist left behind a significant legacy of works of art, documents and books that testify his artistic and cultural commitment that lasted over half a century.<\/a><\/div>\n
\n

Post-2016 activities<\/h2>\n
\n
2017<\/div>\n<\/div>\n
Tullio Vietri’s will was published. It provided a bequest in favor of the Municipality of Oderzo, concerning his vast pictorial and graphic production, the books in his library, his personal archive and that of \u201cCritica Radicale<\/em>\u201d. Having accepted the bequest, the Municipality of Oderzo entrusted the task of cataloging the approximately 3,500 works to Professor Roberto Costella, former Director of the Pinacoteca Alberto Martini in Oderzo, while the book collection and archives were entrusted to the responsibility of the Civic Library, which was already the home of the Tullio Vietri Museum. The perspective is to create a dedicated documentation center.<\/a><\/div>\n
\n
\n
2019<\/div>\n<\/div>\n
The Municipality of Oderzo and the Oderzo Culture Foundation dedicated him the first retrospective exhibition \u201cTullio Vietri, Cronache Italiane dal 1958 al 2008\u201d (\u201cTullio Vietri, Italian chronicles from 1958 to 2008\u201d) in the rooms of the Pinacoteca Alberto Martini, from March 3 to June 2 (later extended to June 16), organisation and catalog by Roberto Costella. In Bologna, one of his works, \u201cPartigiani\u201d (\u201cPartisans\u201d), realized in 1954, is presented in the collective exhibition \u201cResistenza – la voce dell’arte\u201d (\u201cResistance – the voice of art\u201d) curated by Sandro Malossini, promoted by the Legislative Assembly of the Emilia Romagna Region at the Palazzo della Regione. One of his works, \u201cVetrina\u201d (\u201cWindow Display\u201d), from 1969, is also present in the collective exhibition \u201cUn’idea di pittura a Bologna dal 1950 al 1970\u201d (\u201cAn idea of paintings in Bologna from 1950 to 1970\u201d) curated by Sandro Malossini and Francesco Finotti at Palazzo Garagnani, in Crespellano – Valsamoggia (BO). Following the family’s donation to the Legislative Assembly of the Emilia Romagna Region, the piece \u201cLungo la strada\u201d (\u201cAlong the road\u201d) from 1965 (150 x 100 cm – mixed media acrylic tempera varnish) is exhibited in \u201cLa collezione d’arte dell’Assemblea Legislativa – nuove donazioni\u201d (\u201cThe Legislative Assembly\u2019s collection of art\u201d) a collective exhibition curated by Sandro Malossini, promoted by the Legislative Assembly of the Emilia Romagna Region at the Palazzo della Regione.<\/a><\/div>\n
\n
\n
2019
2023<\/div>\n<\/div>\n
The Tullio Vietri atelier in Bologna houses and exhibits the family’s private collection. A member of the Associazione Nazionale Case della Memoria (National Association of Houses of Memory) since 2019, from 2020 is registered, together with works in public collections in the region, by PatER digital catalog of the cultural heritage of Emilia-Romagna. In April \u201822 the Tullio Vietri atelier is one of the 90 sites recognised by the Regional Department for Culture and Landscape as being of \u201cpatrimonial, territorial and cultural relevance\u201d as defined in the volume \u201cCase e studi delle persone illustri dell’Emilia-Romagna\u201d (Houses and Studies of Illustrious Personalities in Emilia-Romagna\u201d) edited by Cristina Ambrosini and Claudia Collina (Bologna University Press). In 2023, it was awarded the \u201cHouses and Studies of the Illustrious People of Emilia-Romagna\u201d mark at the public ceremony held on March 31 in the Stabat Mater Hall of the Archiginnasio Library in Bologna.<\/a><\/div>\n
\n
\n
2020<\/div>\n<\/div>\n
A piece donated by Vietri in 1985 is exhibited in \u201cLa collezione nascosta. Opere dai depositi\u201d (\u201cThe hidden collection. Works of art from deposits\u201d) a temporary exhibition curated by the Giacomo Lercaro Foundation in Bologna. The piece \u201cPaesaggio\u201d (\u201cLandscape\u201d) from 1995 (mixed technique on paper), donated by the family, became part of the Art Collection of the Municipality of Monzuno, which offers a wide documentation of contemporary art in Bologna. <\/a><\/div>\n
\n
\n
2021<\/div>\n<\/div>\n
The Civic Museum delle Cappuccine in Bagnacavallo, exhibited, in the new layout of the Gabinetto delle Stampe (Prints Cabinet), in the section \u201cPresenze. L’immagine dell’uomo tra sogno e realt\u00e0\u201d (\u201cPresences. The image of man between dream and reality\u201d), a linocut by Vietri from their collection (1961, print proof). Two works from the Marzabotto Municipality Collection were included in the collective exhibition \u201cResistenza: la memoria\u201d (\u201cResistance: memory\u201d) curated by Gloria Evangelisti and Sandro Malossini, promoted by the Legislative Assembly of the Emilia Romagna Region. During Art City days, the Legislative Assembly of the Emilia Romagna Region promoted the solo exhibition \u201cTullio Vietri, l’arte nell’informazione\u201d (\u201cTullio Vietri, the art in information\u201d) curated by Sandro Malossini at the Palazzo della Regione.<\/p>\n

<\/a><\/div>\n

\n
\n
2023<\/div>\n<\/div>\n
Solo exhibition proposed by Casa della Memoria of the Municipality of Milan, \u201cBreaking News\u201d: exhibition-installation curated by Fabio Fornasari, with sound accompaniment by Paolo Ferrario \u201cAmbiente per Vietri\u201d (\u201cAmbient music for Vietri\u201d).
\nSolo exhibition proposed by MuVi, Civic Gallery of Contemporary Art in Viadana (MN), “Tullio Vietri, 1959-2002” curated by Sandro Malossini, Vice President of Felsina Factory, and Paolo Guglielmo Conti, Director of the Civic Gallery; after the ending of the exposition, two of the exhibited works, donated by his daughter, become part of the permanent collection of MuVi.
\nFive paintings donated by the family are exhibited in two sections of \u201cMatter and Memory, The Genius of Industry in Suzzara on the 100th anniversary of the City (1923-2023)\u201d, a collective exhibition promoted by the Suzzara Prize Museum Gallery (MN), curated by Erika Vecchietti and Gianluca Nardoni.
\n\u201cIn Trieste I liked to arrive\u2026\u201d: six paintings by Tullio Vietri, representative of fifty years of activity, have been donated by his family at the invitation of the University of Trieste, to enrich the University’s museum heritage on the occasion of its first centenary celebrations.<\/a><\/div>\n
On December 20, in the main hall, a meeting with the Rector, organized by the University Museum System, for the presentation of the donated works.
\n<\/a><\/div>\n
\n
\n
2024<\/div>\n<\/div>\n
Once again in Trieste, at San Giusto Castle, Tullio Vietri is featured in the exhibition of the University’s art collections, curated by Lorenzo Michelli, as part of the exhibition \u201c1924-2024. A century in the history of the University of Trieste \u2013 Images and documents.\u201d<\/a><\/div>\n
In Bologna, two paintings are featured in the exhibition \u201cArtists\u2019 Gifts \u2013 Artists at the Lercaro Collection: Donations 2023-2024,\u201d curated by Giovanni Gardini and Francesca Passerini.
\n<\/a><\/div>\n
\n
\n
2025<\/div>\n<\/div>\n
Another special occasion in Trieste: on June 9, UniTS inaugurated its Art Gallery in the Library of the Department of Humanities to showcase the one hundred works donated for the University\u2019s Centennial (1924\u20132024). The reading room, which marks the beginning of the Gallery\u2019s exhibition route and was curated by Lorenzo Michelli, is dedicated to Tullio Vietri and his six paintings.
\n<\/a><\/div>\n
\n

Events & News<\/h2>\n
News and information on new events related to Tullio Vietri and ongoing activities within the Atelier.
\nHighlights of special moments, near and far.\n<\/div>\n
\n<\/div>\n

\n View Events & News<\/a>\n<\/p>\n

\n

The Atelier<\/h2>\n

Tullio Vietri<\/p>\n

\n

The atelier preserves the family\u2019s rich pictorial and graphic collection (approximately 1,500 pieces, between paintings and graphics). It periodically organizes temporary exhibitions within its spaces, in order to promote knowledge about the collection, displaying the works in rotation.<\/p>\n

It is located in Bologna in Via Saragozza 135 under the historic portico of San Luca.
The Atelier can be visited, by appointment, from October to June. Guided tours available.<\/p>\n<\/div>\n

Further information<\/a><\/p>\n<\/div>\n

\n

The Museum<\/h2>\n

Tullio Vietri<\/p>\n

\n

The Biblioteca Civica, managed by the Oderzo Cultura Foundation, displays the core of the collection owned by the Municipality of Oderzo, by the artist\u2019s behest, custodian of his artworks (about 4000 pieces including paintings and graphics).<\/p>\n

It is located in Oderzo (TV) in Via Garibaldi 80 at the Civic Library.
It can be visited during library opening hours and by appointment.<\/p>\n<\/div>\n

Further information<\/a><\/p>\n<\/div>\n


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Tullio Vietri Chronology Biography Chronology Biography A brief biographical excursus 1927 23 gennaio Tullio Vietri was born in Oderzo (Treviso), son of Gerardo Vietri and Anna Filomena Giso. 1938 Still a child, Tullio left Oderzo due to his father\u2019s work relocation. 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