Image: La Permanente, Milan
La Permanente in Milan has used its latest newsletter to highlight Carlo Carrà’s 'Paesaggio toscano' from 1955, presenting the painting as a seasonal greeting and a preview of initiatives planned for September. The message, dated 30 July 2026, identifies the work as an oil on canvas measuring 50 by 60 cm and says it belongs to the collection of the Museo della Permanente.
The newsletter arrives from La Permanente, the Milanese institution formally known as the Società per le Belle Arti ed Esposizione Permanente. According to the organisation’s collection page, the association holds an art collection of more than 300 works, including paintings and sculptures, together with about 100 drawings and prints. The collection has formed over more than a century, beginning with the inauguration of the current headquarters in 1886 and continuing through awards, donations from artists, and gifts from collectors and patrons.
Carrà’s presence within that collection reflects his standing among the artists represented by La Permanente. The institution’s collection page includes his name in a list that ranges across several generations of Italian art, alongside figures such as Lucio Fontana, Ottone Rosai, Fausto Pirandello, Mimmo Paladino and Emilio Tadini. The newsletter’s choice to feature a single Carrà painting as a summer greeting gives the work a prominent place in the museum’s seasonal communication.
'Paesaggio toscano' is presented in the newsletter without additional interpretive commentary, but the brief notice makes clear that the painting is being used as a visual emblem for the institution’s summer message. The tone of the email is straightforward: it offers best wishes for a good summer and says, in Italian, 'Ci vediamo a settembre con le prossime iniziative,' indicating that further activities are due after the summer break.
No exhibition details accompany the newsletter item, and the source material does not announce a specific event for the painting itself. The only verified forward-looking information is the promise of September initiatives, with the newsletter closing on a concise 'stay tuned' note. The emphasis remains on the collection work rather than on a public display programme.
La Permanente’s website situates the collection within a long institutional history and notes that it includes works acquired through prize purchases linked to exhibitions organised by the society, as well as works donated by artists, collectors and patrons. Against that background, the decision to feature Carrà’s 1955 landscape as the face of a holiday greeting places a collection painting in direct conversation with the institution’s own identity and its upcoming calendar.
