The Biscozzi | Rimbaud Foundation, in collaboration with the Association for Filippo de Pisis, presents the exhibition Filippo de Pisis and the Italians of Paris, curated by Paolo Bolpagni and Maddalena Tibertelli de Pisis, dedicated to one of the most original and international chapters of Italian art between the late twenties and the early thirties of the twentieth century, from February 14 to May 10, 2026.

The exhibition explores the experience of the Italians of Paris, a group of Italian artists active in the French capital, united by an openness to Europe and a partially conscious "fronde" position in relation to the dominant direction of the Italian twentieth century.

At the heart of the group was the Groupe des Sept, formed by Massimo Campigli, Giorgio de Chirico, Filippo de Pisis, René Paresce, Alberto Savinio, Gino Severini, and Mario Tozzi, protagonists of an exhibition season between 1928 and 1933. The group shared cultural references, professional customs, and a common vision of classicism, understood in a modern, Mediterranean, and antidogmatic key, marked by formal freedom, plurality of languages, and dialogue with international culture.

The exhibition path focuses on the figure of Filippo de Pisis (Ferrara, 1896 - Milan, 1956), starting from the famous painting Dalie (1932), exhibited in the first room of the permanent exhibition of the Lecce Foundation. Around a significant core of over twenty works by the Ferrarese artist, created between the mid-twenties and the early thirties, a direct comparison is developed with a targeted selection of paintings by the other six members of the Groupe des Sept, belonging to the same season.

“It was not just a casual meeting of painters more or less permanently residing in Paris, but also an association connected by a certain commonality of ideal references and human and professional customs,” explains co-curator Paolo Bolpagni, emphasizing the cultural and projectual cohesion that characterized the experience of the Italians of Paris.

The exhibition highlights affinities and differences within the group, emphasizing their common international tension and distance from an Italian context increasingly oriented towards monumentalism, muralism, and the "modern classicism" theorized by Margherita Sarfatti.

The exhibition is accompanied by a trilingual catalog (Italian, French, and English), published by Dario Cimorelli Editore, with essays by the curators and color reproductions of all the exhibited works.