Anthony Caro e gli scultori italiani

This paper examines Anthony Caro’s impact on the Italian art scene following the exhibition of three significant works at the Venice Biennale in 1966, focusing on the contrasting reactions among Italian critics and sculptors. The first part of this essay explores why many Italian critics struggled to understand Caro's works. An analysis of specialized magazines, books, and exhibitions dedicated to sculpture in Italy during the early Sixties reveals that the critics' preoccupation with the Pop Art movement, coupled with a lack of formalist appreciation, significantly hindered their ability to fully appreciate Caro’s artistic language. The second part investigates how three Italian sculptors—Giuseppe Spagnulo, Carlo Ramous, and Giuseppe Uncini—responded to Caro’s masterpieces displayed in Venice in 1966. By analyzing their artworks and writings before and after attending the Biennale, this section illustrates how Caro's formal solutions could have served as a means for these artists to evolve their practices. Additionally, it highlights how Caro's influence directed their attention to critical themes of the Sixties, such as the urban landscape and its relationship with industrial design.