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The 360° panoramic views shown above will allow you to appreciate significant details of some of the most interesting rooms of the Museum and of its garden.

Fotografie Panoramiche a 360° di © Pietro Madaschi -

Parnassus Room - ROOM XVII (first floor)

In this lavish room, once a dining hall, visitors may admire the grand fresco commissioned by Viceroy Eugene of Beauharnais to Andrea Appiani. The work is framed by ancient-style decorations and two stucco lunettes with playing putti, by the artist Grazioso Rusca. This fresco, completed in 1811 and inspired by the Greek scholar Luigi Lamberti, portrays Apollo on Mount Parnassus, in the company of the nine muses. This was the artist’s final known work, and shows he looked with interest upon the Parnassus painted by Raphael in the Vatican, which was a model that had already been successfully offered in a fresco by Anton Raphael Mengs in the Villa Albani in Rome, a genuine manifesto of Neoclassical reform in art.

Francesco Hayez - ROOM XII (first floor)

The greatest Italian painter of the 1800s trained in Rome, where he arrived from his native Venice, in an artistic scene dominated by Canova. After having moved to Milan, he soon became head of a new painting current: Historical Romanticism. The works on display here bear witness to his considerable talent in portraying illustrious men and women. The magnificent picture of Matilde Juva Branca, or the two portraits of Morosini as a child and young woman, or finally the classic portrait of Alessandro Manzoni allow viewers to appreciate his knack for psychological introspection and his skillful, Titian-inspired use of color, thus proclaiming Hayez a portrait artist who could stand his own ground with his French peer, Ingres.

Historical Romanticism - ROOM XVI (first floor)

Historical painting during the second-half of the century diverges from the work of Hayez to experiment with new possibilities, full of never-before-seen comparisons with reality and a vast use of national history themes dealing with a rapidly changing society. From Eleuterio Pagliano, who draws upon the successful theme of artists from the past in his Death of Tintoretto’s Daughter to the esoteric Cleopatra by Mosè Bianchi, including new approaches to color and technique by Federico Faruffini, with his stunning Girl Reading, up to the Medieval Scene by the Macchiaiolo artist, Vincenzo Cabianca. Sculpture, as well, was changing, with examples such as the Girl Reading by Pietro Magni and the Girl Writing by Giovanni Spertini, aiming to modernly interpret reality.

Italian Novecento - ROOM IX (second floor)

Umberto Boccioni and Giacomo Balla are present here with works that are still Divisionist in style, and also with examples of their leap to Futurism, as shown by a comparison of both portraits of Boccioni’s mother, or the picture of the Fiancee at the Pincio by Balla, soon followed by the Speed of an Automobile which is emblematic of an investigation on motion typical for this artist’s enthusiastic espousal of the Futurist avant-garde. The other works in this room illustrate the results of research conducted just slightly after, aimed at elaborating realist painting (Fausto Pirandello, Felice Carena) or the personal experiences of two artists already present in the Grassi and Vismara Collections: Giorgio Morandi and Arturo Tosi.

The Garden

Milan’s first, this Villa’s English-style garden was one of the greatest attractions and novelties for visitors at the time of its creation. Count Belgiojoso commissioned the architect Leopold Pollack to design the garden, in collaboration with Count Ercole Silva; it recreates a natural landscape where the vegetation allows ancient ruins to surface.