2005
- 5 Artisti, Exhibition Hall of Castelnuovo Val di Cecina (Pisa), with Alida Ugolini, Elizabeth Scarpini, Maria Pecchioli, Poggiali Berlinghieri;
- ARTOUR-O (Personal), Starhotel Michelangelo, Florence;
- Auguri di Natale, Studio Piergiovanni Paoli, con Stefania Balestri and Aroldo Marinai;

2006
- Arte nell'Arte, Showhouse, Florence, with Gianni Caverni and Aroldo Sailors, edited by Giulia Ricottini;

2007
- Non c'è vento (Personal), La Corte Contemporary Art, catalog with text by Daniela Cresti.

2008
- Quindici Gallerie Quindici Artisti, Forte Belvedere, Florence.

2009
- L’ordine del caos: costellazioni e miti, Museo Archeologico Nazionale (National Archeologic Museum), Florence.
- ARTOUR-O, Art Exhibition, Spazio Frau, Rome.

2012
- "Dove sta ZA?" 110 Artisti per 110 Anni di Cesare Zavattini, edited by Paolo Della Bella and Aldo Frangioni Fiesole, Florence.

2013
- Un'altra luce (Personal retrospective), Polo espositivo Casa Rossa (Pontassieve), edited by Ornella Casazza.

2014
-Gioielli d'artista. . La tradizione nella modernità Exhibition Space of the Ente Cassa di Risparmio di Firenze and Horne Museum halls, curated by Ornella Casazza and Laura Felici, promoted and organized by the Associazione Osservatorio dei Mestieri d’Arte.

The work "Passano le barche" is included in the Collection of the Province of Massa, Palazzo Ducale of Massa.

The coloured paths of Angela

The painter was born in Fano and attended high school with a classical orientation in the Marche, continuing her historical and humanistic education in Florence between Brunelleschi walls of the Faculty of Arts, majoring in Philosophy.
Maybe it's the encounter with the testimonies of the past oozing Renaissance and the challenging academic environment that Angela was fascinated by the city and chose Florence as her adopted residence.
Inclines to pictorial expression from a young age, she is guided in the first steps of erudition basic pictorial from Pirzio, a polemical and authentic Florentine master. With him she approaches the oil technique and large canvases loaded with colour. Angela remains apprenticed for four years in the study of San Zanobi and breathes the lively and direct "fiorentinità" that will also expresses in the choice of subjects to portrait.
Later she attended for three years the studio of the painter Charles H. Cecil in the bright and airy spaces of the former church of San Raffaello Arcangelo in San Frediano, adapted to the study in the first half of the nineteenth century by Lorenzo Bartolini and then by Pasquale Romanelli.
The fascinating rooms of the plaster on the ground floor collection lead to academic reflection and find the right language to learn the technique of the sight-size method unopposed for the school of truth.
Another important year is the one she passes at The Florens Academy of Art in via delle Casine, Florence, always in contact with the teacher Daniel Graves and with him she refines the technique of drawing in particular the anatomy.
her artistic sensibility leads Angela to get interested to Applied Arts and erudite artifacts of the past, so she enrolled to "Antiquariato" courses at the Palazzo Niccolini in via dei Fossi. In addition to the historical path she gets to know the pictorial art and modelling techniques to obtain a full preparation in the art sector.
In the '80-90 she lived a long time outside of Italy, first in Paris, then in NYC; she has contacted the bohemian circles of the two cities, in particular is fascinated by the artistic personality of the East Village, including Keith Haring and the new Yorkers writers along with strong images of the photographer Robert Mapplethorpe.
A journey of two months in the second half of the '80s through the States, Coast to coast on the Greyhound Lines bus to take you up in Mexico and Guatemala touching the encounter with the work of the painter Georgia O'Keefe will happen until much later in 2011, the exhibition in Rome, and from which she will come out with some confirmations on the correspondence of her own artistic sensitivity, as the reincarnation of the giant forms painter and enlargements and O'Keefe.
Some works of the first artistic period, where she signs as Calcagnini, her surname at birth, show a figurative realism already anticipating vaguely metaphysical world.
Later she will sign her paintings as De Nozza, surname of her beloved husband Roberto.
The impalpable and luminous pictorial layout demonstrates the antithesis of the solid and sculptural forms of her landscapes. Once again it can be said that painting like other art forms send messages to the careful viewer who talk about themselves and communicate to the inner world of each artist.
Angela reflected in her works the existing contrast between the slender and gentle silhouette of her figure with a strong and safe built character with strength and determination.
The culture of the color palette, used sometimes without contamination of tonal contrasts, shows a sensitivity that goes beyond expressionism and pictorial symbolism in an enchanted atmosphere, still and thoughtful.

Laura Felici
Professor of History at the Art School Porta Romana in Florence