Notes from the Italian Art Society,
promoting the study of the architecture and visual arts of Italy, from prehistory to the present day.

Sculptor, conceptual artist, and stage designer Pino Pascali was born in Bari on 19 October 1935. Pascali mounted his first solo exhibition at Galleria La Tartaruga in Rome in 1965 and participated in the first Arte Povera exhibitions of the late 1960s.

Reference: Matthew Gale. “Pascali, Pino.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T065627>.

Further reading: Pino Pascali - a Multitude of Soap Bubbles Which Explode from Time to Time. Final Works 1967-1968 by Martin Holman (2011)

Trap, steel wool, 1968, London: Tate Modern

Levatoio, 1968, image: Kunstmuseum Liechtenstein

La vedova blu, 1968, Acrylic on wood structure.

(Source: italianartsociety)

#Pino Pascali #arte povera #20th century #modernism #Italian Art #Italian modernism #Rome #Bari #sculpture #conceptual art

Futurist Umberto Boccioni was born on 19 October 1882 in Reggio Calabria. Boccioni spent his youth in Forlì, Genoa, Padua, and Catania. Boccioni moved to Rome in 1899 where he came to know Gino Severini and Giacomo Balla, also major players in the Futurist movement. Boccioni’s Unique Forms of Continuity in Space, perhaps his best known work, epitomizes the aims of the Futurist Manifesto, its muscular male figure striding forward into space as if into the future, ruthlessly leaving the past behind. Such dynamism is found throughout his two- and three-dimensional works and is celebrated in his writings.  

Unique Forms of Continuity in Space, bronze, 1913. London, Tate. Photo credit: Scala/Art Resource, NY.

Dynamism of a Cyclist, oil on canvas,1913. Milan, Gianni Mattioli Collection (on long-term loan to the Peggy Guggenheim Collection). Photo credit: Scala/Art Resource, NY

Dynamism of a Speeding Horse + Houses, 1915. Gouache, oil, paper collage, wood, cardboard, copper, and iron, coated with tin or zinc. The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976, 76.2553.30. Photo: David Heald.

Self-Portrait, 1905. Oil on canvas. New York: Metropolitan Museum of Art. Bequest of Lydia Winston Malbin, 1989.

Reference: Ester Coen. “Boccioni, Umberto.” Grove Art Online. Oxford Art Online. Oxford University Press. Web. <http://www.oxfordartonline.com/subscriber/article/grove/art/T009466>.

Further reading: Ester Coen, Umberto Boccioni. New York: The Metropolitan Museum of Art, 1988.

(Source: italianartsociety, via italianartsociety)

#umberto boccioni #boccioni #Futurism #Reggio Calabria #Rome #20th Century #modernism #Italian modernism #sculpture #painting

Luca Giordano was born on 18 October 1634 in Naples. A prolific artist known for his speedy execution, Giordano was widely sought after and created numerous altarpieces, mythological paintings, and fresco cycles in both domestic and religious settings. An international superstar, Giordano worked in his hometown, Florence, Venice, and Madrid.

Reference: Daniela Campanelli. “Giordano, Luca.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T032371>.

The Annunciation, 1672. New York: The Metropolitan Museum of Art, Gift of Mr. and Mrs. Charles Wrightsman, 1973

The Virgin and Child Appearing to Saint Francis of Assisi, 1680s. The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund

Luca Giordano, The Martyrdom of St. Januarius, ca. 1690. London: The National Gallery

(Source: italianartsociety)

#luca giordano #painting #Naples #Baroque #17th Century #italy #italian art #religious art

October 18 is the Feast day of St. Luke, gospel writer and patron saint of artists, owing to the Christian tradition that he painted a portrait of the Virgin Mary and Christ Child. The icon attributed to Luke was kept at the Hodegon Monastery in Constantinople and shows Mary cradling her baby with her left arm while directing attention toward him with her right. This so-called Hodegetria type had a huge impact on both Byzantine and Italian art, and numerous Renaissance and Baroque artists depicted Luke in the guise of a contemporary artist, painting the portrait on his easel as in the altarpiece by Giorgio Vasari, made for the Accademia del Disegno in Florence.

Giorgio Vasari, St. Luke Painting the Virgin, after 1565, fresco, Santissima Annunziata, Florence

Berlinghiero, Madonna and Child, early 13th century. New York: The Metropolitan Museum of Art, Gift of Irma N. Straus, 1960

Guercino, Saint Luke Displaying a Painting of the Virgin, 1652-3. Kansas City: The Nelson-Atkins Museum of Art, Purchase: Nelson Gallery Foundation

Donatello, Evangelist Luke, 1428-43, polychrome stucco, Old Sacristy, San Lorenzo, Florence

Pontormo, St Luke, c. 1525, oil on wood, Cappella Capponi, Santa Felicità, Florence

Nanni di Banco, St. Luke, 1408-15, marble, Museo dell’Opera del Duomo, Florence

Andrea Mantegna, Altarpiece of St. Luke, 1453, Milan: Pinacoteca di Brera

#St. Luke #Feast Day #catholic church #saints #religious art #icon #Hodegetria #Vasari #Berlinghiero #Guercino #Donatello #Pontormo #Nanni di Banco #Andrea Mantegna #artists #Italian art

Architect, urban planner, and furniture designer Franco Albini was born on 17 October 1905 in the Lombard town of Robbiate. Trained at the Polytechnic University in Milan, Albini was associated with Rationalism and known for clear, simple designs on both large and small scale. 

Armchair, 1952; wood, fabric, and metal, Collection SFMOMA, Gift of Michael and Gabrielle Boyd

Spiral staircase, Palazzo Rosso, Genoa

Fiorenza Armchair, 1939

#modernism #furniture #furniture design #armchair #architecture #urbanism #albini #italy #milan #italian design #italian art #20th century #rationalism

Sculptor Baccio Bandinelli was born on 17 October 1493 in the Tuscan village of Gaiole in Chianti. The son of a goldsmith who worked for the Medici, Baccio also worked for the family, remaining loyal to them even during their exile at the turn of the sixteenth century. His devotion served him well, as he received numerous commissions during the papacies of the Medici popes Leo X and Clement VII and continued to find favor under Grand Duke Cosimo de’Medici. He was not popular with many of his peers, however, including his rivals Michelangelo Buonarroti and Benvenuto Cellini. Jealous of Bandinelli’s success with the Medici, Cellini scathingly criticized his Hercules and Cacus, faulting its proportions and claiming that the hero’s “shoulders resemble the two pommels of an ass’s pack-saddle; his breasts and their muscles bear no similitude to those of a man, but seem to have been drawn from a sack of melons.” Despite these and other early critics, above all Giorgio Vasari, Bandinelli is recognized today as a gifted draftsman and commendable sculptor, if not the equal of Michelangelo and Cellini.

Reference: Charles Avery. “Bandinelli, Baccio.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T006094>.

Further reading: Baccio Bandinelli And Art At The Medici Court: Corpus Of Early Modern Sources by Louis A. Waldman (2004); The Autobiography of Benvenuto Cellini

Hercules and Cacus, 1525-34, marble, Piazza della Signoria, Florence

Seated Male Nude, c. 1516-20, red chalk over faint traces of black chalk, The Cleveland Museum of Art, John L. Severance Fund 1998.6.

Pietà, 1554-59, Santissima Annunziata, Florence

(Source: italianartsociety)

#bandinelli #sculpture #Florence #Renaissance #16th century #Italian Renaissance #Medici #michelangelo #cellini

Sculptor Rembrandt Bugatti was born on 16 October 1884 or 1885 in Milan. From a family of artists, Rembrandt is known for his sculptures of animals, most famously for the rearing elephant he created to serve as the radiator cap for the Bugatti Royale (Type 41) designed by his brother Ettore. Despite the whimsical nature of his subjects, both wild and domestic animals, Bugatti suffered depression and committed suicide at age 31 in 1916. His sadness was likely brought on by the forced execution during World War I of many of the animals resident at the Antwerp Zoo. Given a studio by zoo officials in 1907, Bugatti had used many of the Antwerp animals as his models. Bugatti also suffered financial difficulties, which likely contributed to his tragic decision to end his life.

Elephant Radiator Cap, before 1916

Mon Chien, 1905, bronze

Bouledogue français, 1905, bronze

Reference: Henry Hawley and Saverio Simi de Burgis. “Bugatti.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T012117pg2>.

(Source: italianartsociety)

#bugatti #19th century #sculpture #animals #elephant #dachshund #french bulldog #bronze #depression #suicide #WWI #Antwerp #Milan #italy #art