Showing posts with label Scuola Metafisica. Show all posts
Showing posts with label Scuola Metafisica. Show all posts

11 May 2019

Filippo De Pisis - painter and poet

Artist known for extravagant lifestyle


A 1923 painting by Filippo De Pisis entitled Still Life with a Bottle
A 1923 painting by Filippo De Pisis
entitled Still Life with a Bottle
The painter and poet Filippo De Pisis, whose works grace the Museum of Modern Art in New York, the Peggy Guggenheim Collection in Venice and the Palazzo Ruspoli in Rome among other galleries, was born Luigi Filippo Tibertelli De Pisis in Ferrara on this day in 1896.

A close associate for a while of Giorgio de Chirico and Carlo Carrà, De Pisis is best known for his cityscapes, metaphysically-inspired maritime scenes, and still life pictures, especially depicting flowers.  De Pisis, who was homosexual, also made many homoerotic sketches of the male nude. Later in life, he lived in Venice and became somewhat eccentric, travelling everywhere in his personal gondola.

Born into a noble family, as a boy he was known as Gigi. He was educated at home and was strongly influenced by his sister, Ernesta Tibertelli, who was a distinguished illustrator with libertarian views, and who probably introduced De Pisis to mystical writings.

De Pisis spent his childhood reading, drawing, collecting butterflies and wildflowers and writing poetry. He studied literature and philosophy at the University of Bologna, and published a volume of poems, Canti della Croara, in 1916. That same year, he met Carrà, De Chirico and his brother Alberto Savinio and and was attracted to metaphysical painting.

De Pisis spent 14 of his most productive years as a painter living in Paris
De Pisis spent 14 of his most productive years as
a painter living in Paris
In 1919, he moved to Rome, living in Via di Monserrato, near the Palazzo Farnese. He met more artists, including Armando Spadini, and began to paint in earnest. He still wrote, publishing a collection of essays, La città dalle 100 meraviglie - The City of 100 Wonders - in 1920.

He had been criticised for the overly-sentimentality of some of his poetry, yet his emotional nature worked in his favour in his painting, which received early acclaim.

Seeking new adventures and subjects, in 1925 he moved to Paris, which would be his base for the next 14 years, with only brief interruptions. He met and became friends with Édouard Manet, Camille Corot, Henri Matisse and members of the avant-garde fauve movement.

After holding a personal exhibition, presented by Carrà, in the Lidel room in Milan, he returned to Paris and began an intense relationship with the painter Onofrio Martinelli, who he had met in Rome. They shared a house-studio in the Rue Bonaparte in the Saint-Germain-des-Prés quarter.

He became part of a group of artists known as the Italians in Paris, which included De Chirico, Savinio, Massimo Campigli, Mario Tozzi, Renato Paresce and Severo Pozzati.  During his Parisian period he also visited London several times, forming friendships with the British painters Vanessa Bell and Duncan Grant.

De Pisis was probably best known for his cityscapes. This one, painted in Venice in 1942, is Rio della Torricella
De Pisis was probably best known for his cityscapes. This
one, painted in Venice in 1942, is Rio della Torricella 
De Pisis returned to Italy in 1939, anticipating the outbreak of the Second World War.  He settled in Vicenza for a few weeks before moving to Milan, taking up residence at the Hotel Vittoria in Via Durini.  He might have remained in Milan, but in 1943 his studio in Via Rugabella was destroyed in a bombing raid.

He moved again to Venice, where he was inspired by the paintings of Francesco Guardi and other Venetian masters of the 18th century, and began to live a rather extravagant lifestyle, travelling to and from his house on the Rio de San Sebastian canal in the Dorsoduro district by gondola. He maintained two gondoliers on 24-hour duty, who wore black-and-gold livery.

His health began to decline after the war and in 1948 he was treated in a clinic for neurological disorders in Bologna. From 1949 until his death in 1956 he lived mainly in a nursing home for sufferers from nervous diseases in Brugherio, a town north of Milan.  As well as the collections in New York, Venice and Rome, there are a large number of his paintings at the Museo Filippo De Pisis in his home city of Ferrara.

After moving to Venice permanently in 1943, De Pisis lived in a house on Rio de San Sebastian in Dorsoduro
After moving to Venice permanently in 1943, De Pisis lived
in a house on Rio de San Sebastian in Dorsoduro
Travel tip:

Dorsoduro, where De Pisis lived after leaving Milan in 1943, is one of the six sestieri - municipal areas - of Venice, and sits between the Grand Canal and the Giudecca Canal.  It is regarded as a good place to get a feel for the more traditional Venice, without the huge crowds and tourist trappings associated with the areas around St Mark's and the Rialto.  There are many traditional bacari, the small bars that sell inexpensive small snacks - cicchetti - along with glasses of wine - known locally as ombre, as well as squares where local people meet during the day and students gather at night.  It is also home to some fine churches, such as San Sebastiano, close to Casa De Pisis, which is full of works by Veronese. Nearby are two of the city's most prestigious galleries, the Accademia and the Peggy Guggenheim.


The Villa Fiorita in Brugherio used to house the nursing home where De Pisis was cared for in his later years
The Villa Fiorita in Brugherio used to house the nursing
home where De Pisis was cared for in his later years
Travel tip:

The nursing home in which De Pisis spent the last few years of his life was housed in the Villa Fiorita, an historic aristocratic urban mansion in Brugherio that was built in 1721 for the Scotti family. After being bought and sold a number of times, it was given over for use as a nursing home in 1938. De Pisis spent much of his time in the mansion’s vast greenhouse, which is situated in its large landscape gardens, which he chose because of its optimal exposure to sunlight and relaxing parkland setting. The mansion now houses Brugherio’s municipal offices. The greenhouse has been renamed Serra De Pisis.



More reading:

Giorgio de Chirico, founder of the scuola metafisica movement

How Carlo Carrà captured violence and speed on canvas

Vittorio Miele, the artist of the metaphysical school who lost his family in World War II battle

Also on this day:

1715: The birth of opera composer Ignazio Fiorillo

1817: The birth of ballet star Fanny Cerrito

1932: The birth of fashion icon Valentino





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24 November 2018

Vittorio Miele - artist

Painter scarred by Battle of Monte Cassino


Miele's work often had strong elements of the  scuola metafisica as well as impressionism
Miele's work often had strong elements of the
scuola metafisica as well as impressionism
The 20th century artist Vittorio Miele, who found a way to express himself in art after losing his family in the Battle of Monte Cassino, was born in Cassino on this day in 1926.

Miele was a teenager when his home town and the mountain top Benedictine monastery witnessed one of the bloodiest battles of the Second World War as Allied armies attempted to break the Gustav Line of the Axis forces.

Over a three-month period, the Allies made four assaults, each backed up by heavy bombing, and though the objective was eventually achieved it was at a very high price. There were at least 80,000 soldiers killed or  wounded, as well as countless civilians caught in the crossfire.

Miele lost his father, mother and sister. He survived but left the area as soon as he was able, settling 400km (249 miles) north in Urbino in the Marche.

It was there, from the age of 19, that he took courses in painting and became part of the city’s artistic life, developing a talent that in his mature years saw him once described as “the poet of silence”.

Miele's work has been exhibited in many parts of the world, in particular Canada and the United States as well as Italy
Miele's work has been exhibited in many parts of the world,
in particular Canada and the United States as well as Italy
In the following decades his work began to reach further afield.  In 1958 he took part in the Mantua National Art Exhibition and, in 1966, had his first solo show in Frosinone, just 60km (37 miles) from Cassino, at the La Saletta gallery. The following year, with his painting Meriggio was awarded a prize to the Avis art exhibition in Jesi.

Two years later, in 1969, Il Dolore received second prize at the Piervert International Painting Exhibition in France. In the same year, his painting Case di Ciociaria won first prize at the National Festival of Figurative Arts in Rome.

In the 1970s, an exhibition in San Marino attracted large visitor numbers and more recognition of his importance in 20th century Italian art came with an exhibition in Tokyo alongside works by Giorgio de Chirico, Franco Gentilini, Massimo Campigli and Domenico Cantatore. His works were also exhibited widely in the United States and Canada.

Miele returned to Cassino after a period living in the north of Italy
Miele returned to Cassino after a period
living in the north of Italy
The profound and lasting effect of what he witnessed as a young man in Cassino came to the fore in 1979, some 35 years after the destruction of the abbey, when he commemorated the anniversary with an exhibition called Testimony, for which he reproduced some of the images that had remained in his mind.

Miele moved back to Cassino in later life and died there in November 1999.

In 2009, the Umberto Mastroianni Foundation and the Municipality of Frosinone marked the 10th anniversary of his death with an exhibition dedicated to his life. A similar retrospective was hosted by the Galleria Gagliardi in San Gimignano, where he had exhibited more than once during his life.

In Frosinone, a city where he lived for many years, a school in Via Lago di Como is named after him.

The rebuilt Abbey of Monte Cassino
The rebuilt Abbey of Monte Cassino
Travel tip:

After the Second World War, the Abbey of Monte Cassino was painstakingly rebuilt based on the original plans, paid for in part by the Vatican and in part by what could be raised in an international appeal.  Today, it is again a working monastery and continues to be a pilgrimage site, housing as it does the surviving relics of St. Benedict and St. Scholastica. It also serves as a shrine to the 183,000 killed in the Battle of Monte Cassino and other fighting in the Allied assault on Rome.

Ciociaria has many towns built on rugged hillsides
Ciociaria has many towns built on rugged hillsides
Travel tip:

The ancient city of Frosinone, which was Gens Fursina in Etruscan times and Frusino under the Romans, is located on a hill overlooking the valley of the Sacco about 75km (47 miles) southeast of Rome, with the wider city spreading out across the surrounding plains. The Roman writer Cicero had a villa in Frusino. The city is part of a wider area known as Ciociaria, a name derived from the word ciocie, the footwear worn by the inhabitants in years gone by. Ciociaria hosts food fairs, events and music festivals as well as celebrating traditional feasts, when the local people wear the regional costume and the typical footwear, ciocie.

More reading:

Giorgio de Chirico - founder of the Scuola Metafisica

The existential realism of Alberto Sughi

How Allied bombing destroyed the Abbey of Monte Cassino

Also on this day:

1472: The birth of artist Pietro Torrigiano

1826: The birth of Pinocchio creator Carlo Collodi

1897: The birth of Mafioso Charles 'Lucky' Luciano


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1 July 2018

Alberto Magnelli - abstract painter

Self-taught artist whose work became known as Concrete Art


Animated Tension (1953): An example of the abstract art of  the Italian painter Alberto Magnelli
Animated Tension (1953): An example of the abstract art of
the Italian painter Alberto Magnelli
The abstract painter Alberto Magnelli, who became a leading figure in the Concrete Art movement, was born on this day in 1888 in Florence.

Concrete Art is described as abstract art that is entirely free of any basis in observed reality and that has no symbolic meaning. It had strong geometric elements and clear lines and its exponents insisted the form should eschew impressionism and that a painting should have no other meaning than itself.

The movement took its name from the definition of concrete as an adjective rather than a noun, meaning ‘existing in a material or physical form’.

It became Magnelli’s focus after he moved to Paris in 1931. Until then, he had experimented in various genres.

Alberto Magnelli taught himself to paint while on holiday in rural Tuscany
Alberto Magnelli taught himself to paint
while on holiday in rural Tuscany
He was born into a comfortable background in Florence, his father coming from a wealthy family of textile merchants.  He never studied art formally but would spend hours in museums and churches looking at paintings and frescoes. He particularly admired the Renaissance artists Andrea del Castagno, Paolo Uccello, and Piero della Francesca.

Magnelli’s first paintings were landscapes, which he began to produce while on holiday in the Tuscan countryside.  His work was good enough for him to submit to the Venice Biennale, as a result of which he made his first sale in 1909.

By 1915, he had moved towards painting in abstract style, having become part of a circle of artists in Florence in which the Futurist Gino Severini was a prominent member and having met Cubists such as Pablo Picasso and Fernand Léger.

After the First World War, in which he did compulsory military service, he continued to paint entirely abstract works but was unhappy that the avant-garde movement in Italy appeared to be supportive of Fascism and returned to painting quiet Tuscan landscapes, and figure studies. These had echoes of the Metaphysical style of Italian artists Giorgio de Chirico and Carlo Carrà.

Some of Magnelli's works, such as The Readers (1931), had  echoes of the Metaphysical movement in Italian art
Some of Magnelli's works, such as The Readers (1931), had
 echoes of the Metaphysical movement in Italian art
Towards the end of the 1920s, suffering a crisis in confidence, he almost gave up painting but decided to return to Paris in the hope of making a fresh start. There he joined the Abstraction-Création group.

Following the invasion of France by the Nazis, during the Second World War, Magnelli and his future wife, Susi Gerson, went to live in Grasse with several other artists. Some of the group, including Gerson, were Jewish so they were forced to hide. Because conventional art materials were in short supply, Magnelli created textural geometric collages using materials such as corrugated cardboard, emery cloth, music paper, stitched wire, and metal plates.

He also made paintings on schoolchildren’s wood-framed slate boards. Many of these were geometric compositions constructed from flat areas of colour and inscribed white lines, while others were inscriptions of purely geometric lines. It was the beginning of Concrete Art. He again exhibited at the Venice Biennale and major galleries organised retrospectives of his work.

Following the Second World War, Magnelli returned to Paris which was to be his home for the rest of his life.  He died there in 1971.

The Giubbe Rosse has been serving customers in Florence's Piazza della Repubblica since 1896
The Giubbe Rosse has been serving customers in Florence's
Piazza della Repubblica since 1896
Travel tip:

Florentine artists of Magnelli’s era used to meet at the Caffè Giubbe Rosse in Piazza della Repubblica, which took its name from the red jackets - giubbe rosse - the waiters still wear to this day. When opened in 1896, it was called Fratelli Reininghaus after the German brothers who founded it. The writer and poet Alberto Viviani called the Giubbe Rosse a "fucina di sogni e di passioni - a forge of dreams and passions".

The central square in Sansepolcro, Tuscany
The central square in Sansepolcro, Tuscany
Travel tip:

Sansepolcro, which is the birthplace of Piero della Francesca,  is a town of 16,000 inhabitants situated about 110km (68 miles) east of Florence and 38km (24 miles) northeast of Arezzo. The historic centre is entirely surrounded with fortified walls, built in the early part of the 16th century. The centre of the town is the Piazza Torre di Berta, named after the 13th-century tower of the same name, off which can be found the impressive Palazzi Pichi and Giovagnoli and the 14th-century cathedral, dedicated to St John the Evangelist.

More reading:

Giorgio di Chirico, founder of the Scuola Metafisica 

Carlo Carrà and the Futurist movement

Giorgio Morandi - master of still life



Also on this day:

1586: The birth of 'lost' composer Claudio Saracini

1878: The birth of career burglar and cult figure Gino Meneghetti

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20 November 2017

Giorgio de Chirico – artist

Founder of the scuola metafisica movement


Giorgio de Chirico painted this self-portrait, confronting a bust of himself, in 1922
Giorgio de Chirico painted this self-portrait, confronting
a bust of himself, in 1922
The artist Giorgio de Chirico, who founded the scuola metafisica (metaphysical school) of Italian art that was a profound influence on the country’s Surrealist movement in the early 20th century, died on this day in 1978 in Rome.

Although De Chirico, who was 90 when he passed away, was active for almost 70 years, it is for the paintings of the first decade of his career, between about 1909 and 1919, that he is best remembered.

It was during this period, his metaphysical phase, that he sought to use his art to express what might be called philosophical musings on the nature of reality, taking familiar scenes, such as town squares, and creating images that might appear in a dream, in which pieces of classical architecture would perhaps be juxtaposed with everyday objects in exaggerated form, the scene moodily atmospheric, with areas of dark shadow and bright light, and maybe a solitary figure.

These works were much admired and enormously influential.  During military service in the First World War he met Carlo Carrà, who would become a leading light in the Futurist movement, and together they formed the pittura metafisica (metaphysical painting) movement.

De Chirico's The Song of Love (1914)
De Chirico's The Song of Love (1914)
De Chirico’s work in this period, in which he was inspired by the German symbolist painter Max Klinger and the Swiss painter Arnold Bocklin, whom he had met while studying at the Munich Academy of Fine Arts, was extraordinary.

Such works as The Enigma of the Hour, The Disquieting Muses, The Song of Love, The Soothsayer’s Recompense and The Melancholy of Departure, greatly inspired the Surrealists of the 1920s, who were enormously fascinated with the subconscious mind and saw De Chirico as a figure to be revered.

De Chirico never saw himself as a Surrealist, although he had admired Pablo Picasso after meeting him in Paris, yet he was happy to collaborate with the movement for a while, willingly showing his work at their group exhibitions in the French capital.

Yet in the 1920s he moved away from his metaphysical phase and began to embrace the traditional, looking for inspiration towards the Old Masters of the Renaissance, such as Titian and Raphael. 

He became an advocate for the revival of classicism in art and architecture and began to be an outspoken critic of modern art. When his former admirers in the Surrealist movement disparaged his new work, he denounced them as “cretinous and hostile” and distanced himself from them.

The Red Tower, which De Chirico painted in 1913
The Red Tower, which De Chirico painted in 1913
Born in 1888 in Volos in Greece to Italian parents – his mother was a  noblewoman of Genoese origin and his father an engineer hired to work on Greece’s new railway network – De Chirico studied art at Athens polytechnic before moving to Munich with his mother following the death of his father in 1905.

Returning to Italy, he spent time in Milan and Turin before settling in Florence, where the Piazza Santa Croce inspired the first of his metaphysical town square works, entitled The Enigma of an Autumn Afternoon (1910).

He stayed in Paris for much of 1911 and 1912, residing with his brother, Andrea, who was also a painter.  Works such as The Soothsayer's Recompense (1913) and The Mystery and Melancholy of a Street (1914) were inspired by Paris.

It was his time in Paris that particularly influenced the Surrealists, largely because one of the movement’s leading figures, the writer André Breton, happened upon one of his pictures in a gallery owned by the art dealer, Paul Guillaume, and told all his friends.

Another of De Chirico's classics of the  scuola metafisica, The Disquieting Muse
Another of De Chirico's classics of the
scuola metafisica, The Disquieting Muse
The outbreak of war saw De Chirico called up to serve in the Italian army. Stationed in Ferrara, he suffered a nervous breakdown and it was while he was recuperating in military hospital that he met Carrà.

He returned to Paris after the war with his first wife, a Russian ballerina named Raissa Gurievich, but left again after his acrimonious fall-out with the Surrealists, moving to New York and then London.

De Chirico divorced Gurievich and married another Russian, Isabella Pakszwer Far, with whom he would spend the rest of his life.  After returning to Italy in the early 1930s they moved to America to escape Fascism and settled in Italy only after the fall of Mussolini’s regime, acquiring a house near the Spanish Steps which is now a museum dedicated to his work.

He wrote at times as well as painted, and his 1929 novel Hebderos, the Metaphysician, was described by John Ashbery, the American Pulitzer prize-winning poet, as “the finest major work of Surrealist fiction.”

De Chirico attracted controversy in his later years when, disappointed with the lukewarm response to his classically-inspired work, he secretly produced a number of paintings in the style of the scuola metafisica and falsely dated them as if they had been painting during his peak years, greatly inflating their value.

The bustling Piazza di Spagna in Rome
The bustling Piazza di Spagna in Rome, where De Chirico lived
Travel tip:

The Casa Museo di Giorgio de Chirico – the museum housed in De Chirico’s former home – can be found in the 16th century Palazzetto del Borgognoni in Piazza di Spagna in Rome. The house was left to the state by De Chirico’s widow and opened as a museum in 1998. It is opened only by appointment, but can be visited by prior arrangement on any day apart from Sunday and Monday.  There are many of his works on display there.

The Peggy Guggenheim Collection in Venice is housed in the Palazzo Venier dei Leoni on the Grand Canal
The Peggy Guggenheim Collection in Venice is housed
in the Palazzo Venier dei Leoni on the Grand Canal
Travel tip:

Many of De Chirico’s finest works of his metaphysical phase are on display at the Museum of Modern Art in New York City but his 1913 classic, The Red Tower, is owned by the Peggy Guggenheim Collection and can be viewed in the gallery in the Palazzo Venier dei Leoni, the 18th century palace on the Grand Canal in Venice, where the American heiress lived for three decades.

Also on this day: 

1851 - The birth of Italy's 19th century Queen Margherita 

1914 - The birth of fashion designer Emilio Pucci.