Editing Post-expressionism (section)

===Romantic Expressionism===
{{Main|Scuola Romana}}
[[Corrado Cagli]] was a member of this group, and identified himself and others whom he met as members of the “New Roman School of Painting”, or ''nuovi pittori romani'' (new Roman painters).<ref>''Anticipi sulla Scuola di Roma (Anticipations on the School of Rome)'' on "Quadrante" (I, 1933 n.6)</ref> Cagli spoke of a spreading sensitivity and an ''Astro di Roma'' (Roman Star) which guided them, affirming it as the poetic basis of their art:
{{quote|''In a primordial dawn all has to be reconsidered, and Imagination relives all wonders and trembles for all mysteries.''}}

Sometimes referred to as ''romantic expressionism'', art from this group exhibits a wild painting style, expressive and disorderly, violent and with warm ochre and maroon tones. Contrary to early expressionism, the focus isn't on angst and turmoil, but rather seeing the world anew, as Cagli described, through romantic imagination. Yet, the formal rigour of the Novecento was replaced by a distinctly expressionist visionariness.<ref>Cf. Renato Barilli, ''L'arte contemporanea: da [[Cézanne]] alle ultime tendenze'', Feltrinelli, 2005, p.248: "... a savage and reductive raffiguration dominates, which recalls distant baroque trends, or even closer to the expressionist furores of artists such as [[Chagall]], made viable to them thanks to Antonietta Raphaël, who had known him in [[Paris]]."</ref>

[[Scipione]] brought to life a sort of Roman baroque expressionism, where often decadent landscapes appear of Rome's historical baroque centre, populated by priests and cardinals, seen with a vigorously expressive and hallucinated eye.

[[Mario Mafai]] painted many scenes of Rome and its suburbs, and used warm chromatic colors to convey a sense of freshness and pictorial curiosity. This bent is particularly emphasised in his 1936-1939 work, in a series paintings entitled ''Demolitions'', where in order to make a political statement he painted urban restructuring being carried out by the fascist regime. During the Second World War he painted a series of ''Fantasies'' depicting horrors committed by the fascists.<ref>Cf. F. Negri Arnoldi, ''Storia dell'Arte Moderna'', [[Milan]] 1990, pp.613-616</ref> [[Antonietta Raphaël]], Mafai's wife and a sculptor, was also a member of this group.

Another member was [[Renato Guttuso]], who like Mafai made paintings which denounced the fascist regime. Guttuso's works are generally bright, lively, and verging on abstraction.

[[Emanuele Cavalli]] and [[Giuseppe Capogrossi]] have associations both with the ''Scuola Romana'' and with Magic Realism.