Pietrasanta once again confirms its status as the undisputed international capital of sculpture. The famous Tuscan town, nestled in the heart of Versilia, has recently captured the pages of the prestigious American newspaper The New York Times, which dedicated an extensive and detailed feature to it, celebrating its unique role in the global art scene.
Long defined as the “Little Athens,” Pietrasanta boasts a deep and centuries-old bond with art and the craftsmanship of raw materials. The New York newspaper retraced the rich history of the area, reminding readers that even Michelangelo Buonarroti, back in 1518, personally chose to extract marble blocks from the Apuan Alps of this region when Pope Leo X commissioned him to design the facade of the Basilica of San Lorenzo in Florence.
Yet, the magic of Pietrasanta does not only belong to the past. The New York Times highlighted how the city has remained a magnetic point of reference over time for the greatest modern and contemporary masters. Among them stands out Henry Moore, the renowned British sculptor who began visiting Versilia in the 1950s; many of his famous monumental bronzes, now exhibited in parks and squares around the world, were cast thanks to the mastery of local artisans and foundries.
Another unbreakable bond celebrated in the article is the one with Fernando Botero. The Colombian artist, who recently passed away, deeply loved Pietrasanta and left an indelible mark on it: from the majestic bronze Warrior that stands proud in Piazza Matteotti, to the two imposing frescoes decorating the Church of the Misericordia. Among other major personalities who chose this corner of Tuscany to experience art, the article also mentions actress Gina Lollobrigida, who in the final years of her life loved spending long periods of the year in the city, dedicating herself to her passion for sculpture.
This significant international media tribute comes at a crucial moment: Pietrasanta is officially a candidate to become the Italian Capital of Contemporary Art. The recognition from The New York Times further confirms the strength of the “Pietrasanta model”—a perfect ecosystem where the creative genius of the world’s greatest artists meets the ancient tradition and unique know-how of Tuscan artisans.
