Manzù Collection. Donated by Giacomo Manzù (Bergamo 1908–1991 Ardea, Roma) to his hometown, the collection ranges across the artistic career of this recognised twentieth-century European sculptor. The nucleus of his works, whose representational value is furthered by the fact that they were selected by the sculptor himself, includes two monumental sculptures?one displayed in the Accademia Carrara (Giulia and Mileto, 1966) and the other in GAMeC (Large Lovers, 1971–74)?and a series of small bronzes based on the artist's favourite themes (including Lovers, Cardinal Seated, and Dance Step). Typifying Manzù's sense of belonging to the culture of the Mediterranean is the low relief of the face of Oedipus from 1978. The collection is completed by several paintings (a rare activity for the sculptor, Self-Portrait, 1958), some large format drawings (Giulia and Mileto, 1972), studies (Partisan, 1977) and engravings. Important items in the collection are the bronze Bust of Pio (1950), deposited with GAMeC by the Banca Popolare di Bergamo, and Thirty Studies of Grasses and Flowers, which the artist made at Laveno on Lake Maggiore in 1944 and are owned by the Fondazione Credito Bergamasco.
Spajani Collection. Among the 40 or so works donated by the collector, a large selection illustrates the broad course of Italian painting in the twentieth century, in particular the first half of the century. The masters of Futurism are featured with two very colourful paintings by Umberto Boccioni that herald the revolution brought about by the avant-garde movement, and a painting by Giacomo Balla that provides an encapsulated view of Futurist poetics. The cultural dynamism in the 1930s is represented by two master works by Filippo de Pisis and Massimo Campigli, and the trend of abstraction by Mario Radice and Alberto Magnelli. The series is completed by two enchanting still-lifes by Felice Casorati and Giorgio Morandi that, with paintings by Giorgio de Chirico and Alberto Savinio, give the collection a European dimension. An original work by the master of abstraction, Wassily Kandinsky (a rarity in Italian public collections) and others by Hans Hartung, Roberto Matta, Hans Richter and Graham Sutherland provide an international flavour. The varied scenario of Italian post-war painting is represented by an ironic collage of diverse materials by Enrico Baj, an elegant grid on an aquamarine ground by Piero Donazio, a tangle of plant life by Ennio Morlotti, and a vivid figure by Valerio Adami. Works in the collection by those artists born in Bergamo include Giacomo Manzù (though as a painter rather than a sculptor) and Mario Donizetti, whose theme was the Commedia dell'Arte.
Stucchi Collection. The collection's interest in the prolific research into abstractionism is represented by Atanasio Soldati, Alberto Magnelli and Luigi Veronesi. The works of a group of European artists document the radical linguistic transformation that was to influence an entire generation of post-war artists through the Informel. These included Alberto Burri with one of his first innovative experiments into the use of matter, Anton Zoran Music who investigated the relations between the East and West, the highly refined painting of the Spaniard Luis Feito, and another experimenter into the possibilities offered by matter, the master Jean Fautrier. Matching the most advanced American art of that period is the marvellous tempera work by Tancredi Parmeggiani, which combines both a vivid sign and a degree of mystery and rarefaction. The international outlook is completed by Victor Pasmore, who offers a primary form of organic properties, and Ben Nicholson, a creator of space using simple forms. Finally, the overall taste of the collection is confirmed by a composition of rare harmony by Arturo Bonfanti.