Walking through the charming courtyard of the gallery, I noticed that the villa was in Neoclassical style as was the La Scala Theatre, which I had toured a few days earlier. On the other side of the main street was a vast park. In part of the courtyard was a posh, crowded restaurant. The edifice had two facades, one visible to visitors. Statues and reliefs with a mythological theme decorated the facades. The second façade looked out upon Milan’s first English landscape garden.

Founded in 1903, the modern art gallery was initially housed in Milan’s Castle. In 1921 it moved to its current location, the Villa Reale. Built by Leopold Pollack from 1790 to 1796, the building was originally named Villa Belgiojoso and was used as a private residence. Later, when Napoleon’s adopted son lived there, many famous people gathered at the villa, which was notable for its lavish ornamentation. On August 6, 1849, the Pace di Milano treaty was signed there, making Milan part of Austria.

Austrian Field Marshall Joseph Radetzky von Radez, a Czech noble and Chief of General Staff for the Habsburgs during the Napoleonic Wars, even called the villa home for one year in the 1850s. At one point Radetzky was even knighted for his bravery. Johann Straus composed the Radetzky March after him. His troops appreciated his valor and fairness. He died in Milan during 1858.

When the various states merged into the Kingdom of Italy, the building was no longer used. It was nationalized in 1920 and was refurbished so the Modern Art Gallery could open there the following year. Still, the gallery had to wait until 2006 before they could use the entire building for their exhibits. Before that the gallery had shared the building with other institutions.

The permanent collection started on the first floor. The first six spaces covered Neoclassical art. The works of Antonio Canova were represented there. Two rooms were dedicated to portraiture, including the renditions of Francesco Hayez. His Portrait of Matilde Juva Brunea from 1851 was one of the gallery’s masterpieces. A luxurious ballroom and the Parnaso Room with its astounding 1811 fresco had come into being during Napoleon’s era. After gazing at these two luxurious spaces, I continued to peruse artwork from the Romantic, Divisionist and Symbolist periods. There was also a temporary exhibition of Italian designer Joe Columbo’s 20^th century furnishings on that floor.

The second floor housed the Grassi Collection and Vismara Collection. The Grassi Collection covered both Italian and foreign works ranging from the 14^th to 20^th centuries. Eduard Manet, Paul Cezanne and Vincent Van Gogh were all represented. Oriental art was on display, too. The Vismara Collection showcased 40 works of art from the 20^th century. The paintings and sculptures included creations by  Picasso, Matisse and Renoir.

Some significant paintings on display included Paul Gauguin’s Donne di Tahiti from 1891; Vincent Van Gogh’s Breton Women and Children from 1888; Giuseppe De Nittis’ Breakfast in Posillipo from 1878; Eduard Manet’s Portrait of M. Arnaud from 1875 and Umberto Boccioni’s The Mother from 1907. The sculpture was just as impressive as the paintings. A bust of a madwoman caught my attention. It showed not only unique facial features but also delved into the psychological being of the woman. Via the sculpture, it was possible to see into the woman’s soul.  Other busts were just as revealing. A small statue by Rodin was exquisite, too. A bust of Beethoven was very expressive and innovative.

I was thrilled to see so many amazing paintings and sculptures and looked forward to my next stop at another nearby villa, which was devoted to modern art of the 1930s.

Tracy A. Burns is a writer, editor and proofreader in Prague.