Dina Bellotti Mixed Technique Italy 1990s - Female Portrait

La femme au chien, 1924

Color aquatint. Signed lower left and right in pencil; serial number 160/200 lower left. Pierre Bonnard, French painter, printmaker and photographer, began painting while studying law in Paris, but soon abandoned the art of forensics to devote himself only to painting. In 1888, at the Julian Academy in Paris, Pierre bonnard founded with Paul Sérusier, Maurice Denis and Paul Ranson, the group of painters Nabis (Prophets), a group that drew on the works and poetics of Paul Gauguin in their aesthetic ideals. , for the overcoming of Impressionist naturalism through a return to primitive and Japanese art. In 1891 Pierre Bonnard created his first label for a wine company, some lithographs for "La Revue Blanche" (where the Nabis met) and also designed furniture and decoration projects for screens involving Toulouse-Lautrec with the decorative quality of his paintings and his personal use of color. In 1892 he exhibited some of his decorative panels at the Salon des Indépendants, beginning to interest art critics. Little by little the painter abandoned the gray academic tones and enthusiastically experienced the encounter of art with the world of colorful common things. His works, soon recognizable of the iridescent colors, the bright lines and the open perspective, were widely appreciated. In 1896 he held his first solo show, and his fame spread to Europe with exhibitions in Sweden and Norway. Passed under the influence of the current of Art Nouveau, Bonnard became interested in Japanese prints, very fashionable in the Parisian artistic world at the end of the nineteenth century, to the point of carrying some traits in his paintings: Bonnard will be nicknamed the "Japanese Nabi". With his friend Edouard Vuillard, he also developed a new interest in the scenes of intimate domestic interiors, a genre that would become known as "Intimism" and which proposed the Parisian world in the years before the First World War. In 1910 Pierre Bonnard discovered the south of France and thus began to paint luminous landscapes. In the last twenty years of his artistic career he continued to paint, ranging in all subjects and in all techniques congenial to him, creating decorative paintings but also numerous sketches and drawings, lithographic works in color or in black and white, posters, illustrations for books and magazines that have influenced modern art. The aquatint presented here is part of a large 1920s production of this subject, the "woman with dog", proposed in many variations. It is presented in a frame.

La Loi Divine 1927

Ink on paper. Signature, date and title below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Untitled 1930

Ink on paper. Signature and date below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Le Prophète 1927

Ink on paper. Signature, date and title below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Les Bouches de Naples gemissent de Terreur ou de Plaisir 1969

Ink on paper. Signature, date and title below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Venetian glimpse

Oil on canvas. Signed lower right. Painter, sculptor and ceramist, the Turin artist Giovanni Riva participated in numerous national reviews and exhibitions, including the Venice Biennale in 1940 and 1942. Among his production as a ceramist, the faces of many Lenci dolls are particularly remembered. In painting he devoted himself above all to glimpses of Turin, Milan and Venice, rendered with great spontaneity and immediacy, as well as genre scenes. The systematic study of ancient art, the adherence to the Renaissance ideals of the sculpture of Donatello, Michelangelo and Giambologna pushed Giovanni Riva towards the adoption of an expressive code similar to the taste of the romantic nineteenth century, rather than to futurist dynamism or surrealist visions . The Venetian glimpse proposed here is presented in a style frame.

Female portrait 1950

Oil on canvas. Signed and dated (1-5-1950) in the lower left corner. Born in Bologna but artistically trained at the Brera Academy in Milan, in the early 1900s he studied in Paris, where he can admire the painting of the great masters of the past and follow with great interest the new pictorial trends that advance in the climate of general renewal brought by the new century. In fact, influences of themes such as symbolism and divisionism can be found in his paintings of the first decades of the twentieth century, but Mascarini chooses not to let himself go by the new currents that acclaim the deconstruction of form, remaining in the enclosure of his studio to paint the affections and gazes. of everyday life closest to him. His figurative language draws on the Lombard naturalism of the late nineteenth century, his painting is framed in a sober and balanced drawing. Landscape and portrait painter, he proposes delicate and placid scenarios, such as the glaciers he paints as he climbs in the silence of the high mountains that he loves very much, and portraits with faces harmoniously framed by soft brushstrokes, which express intimate feelings. The portrait of a lady presented here proposes a figure who, although elegant in her evening outfit, expresses serenity, calmness, intimacy rather than worldliness in her face and pose. The work is presented in a contemporary frame.

The blue coccoma, 1960

Oil on canvas. Signed and dated lower left. Further signature, date and title on the back. A Milanese artist descended from a cadet branch of the Gonzaga nobles of Mantua, Giovan Francesco took part in the Second World War with the Savoy Cavalry when he was still twenty years old, participating with the “Fantasma” squadron in patrol actions in the Russian steppe. The months spent in close contact with the horse during the war sparked in him a real passion for horses, which became the privileged subject of numerous paintings, sculptures and poems. Self-taught artist, he declared "Nature is my true teacher", and faithful to it, after horses, he devoted himself mainly to landscapes and still lifes, always depicted "en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the design, which is strong and decisive ..... The images vibrate with restlessness, in the sign of man's struggle against himself, in the hell of a a story that always seems to repeat the same drama. But if the preparatory drawing is admirable, the color of this artist has a regality and a sensitivity that come from a musical perception of the color, where the palette is expressed in sudden, variations and rhythms buttons ". His works appear in various museums, including that of the Pinerolo Cavalry, the Historical Museum of the Guardia di Finanza in Rome, the Tel Aviv Museum, the Art Museum of Los Angeles, in public and private collections in Italy, France, Spain, Luxembourg, Indonesia, China, Japan, Singapore and America. In this still life, the colors are especially enhanced: the three elements - the blue coccoma, that is an enameled jug, a cut lemon and a glass of milk -, well spaced and proposed in contrasting colors, stand out against the two shades of green of the background. The work is presented in a frame.

Paris Rue Norvins 1957

Oil on cardboard. Initials of the artist (MVM) and date at the bottom right. On the back there are label and stamps of the Galleria Ponte Rosso in Milan with the data of the work (author, title, date). Trained artistically in his hometown, Modena, Vellani Marchi in 1924, after his debut at the Venice Biennale with some lithographs and etchings of landscape subjects, made his first stay in Burano, where he will also return later giving life with Guido Tallone and others. artists to an association called the "Buranella school". From this moment the landscapes, the figures and the characteristic views of the island much loved by the painter, will constitute a recurring theme in his production. He then moved permanently to Milan, where he approached the world of publishing by collaborating with newspapers and magazines and established himself as a painter, draftsman and illustrator and participated in the most important exhibitions, not only national. After the war, he also collaborated with the Teatro alla Scala creating numerous sets. Several glimpses of Parisian streets are also part of his production of the 1950s, such as this one in a small street in the Montmartre district. The work is framed in style.

The Country Road

Oil on hardboard. Signed lower left. Having moved as a child with his family to Milan in 1898, still very young, Raoul Viviani enrolled at the Brera Academy, where he studied under the guidance of Giuseppe Mentessi (1857-1931). At the same time he attended the nude school of the Artistic Family, with which he exhibited for the first time at the age of 17, immediately enjoying great success with the public and critics, as a landscape painter with a strong personality and modernity and for his highly original style characterized from strong chromatic experiments. In 1912 he participated in the Venice Biennale and subsequently participated in numerous national and international exhibitions. From 1926 he began his career in the field of art criticism, writing for various newspapers, but his opposition to fascism led him to choose voluntary exile: in 1931 he moved to Uruguay, where he founded and directed the Academy of Montevideo Fine Arts. Returning to Milan in 1937, he resumed his activity as a painter and as a critic. In the 1950s he moved to Rapallo for health reasons and remained there until his death. Extremely original landscape painter, who engages in oil painting but also in watercolor and engraving, is very close to pointillist painting, however, developing his own personal technique, characterized by very thin filaments of color in the form of thin commas, which define the structures of the its landscapes. With his transfer to Liguria, the Ligurian landscape becomes the protagonist of his works and also his mute technique, moving away from the original pointillism to open up to a broad and summary brushstroke, which finally leads to a production of still lifes from violent and contrasting colors. In this work in which the technical characteristic of Viviani is well appreciated, along the country path that runs along the canal, a figure of a woman appears, which constitutes an exception in his production, usually lacking in figurative elements. Work in frame.

Piedmontese landscape

Oil on the table. Signed lower right. On the back this label of the Bolzani Gallery in Milan, with the title of the work. Born in Crespellano (BO) in 1889 by the painter Ugo Gheduzzi, Giuseppe learned the rudiments of art from him together with his brothers Cesare, Mario and Augusto. After his debut in Vignola in 1907 with the painting Alpine landscape, Giuseppe Gheduzzi refined his training in Turin at the Albertina Academy as a pupil of Andrea Marchisio and Paolo Gaidano. Leaving the Academy, he collaborates with his father for the realization of the scenographies of the Teatro Regio. Giuseppe is a skilled landscape painter: he paints Venetian glimpses and panoramas, views of the Piedmont lakes and valleys and of the Ligurian Riviera. But, unlike his brother Cesare, he also excels in interior paintings with figures and orientalist themes: his genre scenes and paintings depicting interiors of craftsmen's shops, antique dealers and stables are particularly appreciated by the public and critics. During his life Giuseppe participated in many reviews of the Promoter of Fine Arts in Turin and in the Circolo degli Artisti in Turin, and made several personal exhibitions. He died in Turin on 21 May 1957. This view of the Piedmont countryside is also part of his vast landscape production, with a solitary figurine walking along the path. The work is presented in a contemporary frame.

Libeccio

Oil on table. Signed lower right. On the back, further signature, title and cartouche of the Galleria Dedalo in Milan. Giulio Cesare Vinzio, an artist of Livornese origin, artistically trained in Florence, attending the studio of Giovanni Fattori. In the countryside around Florence he begins to paint landscapes from life, with oxen, peasants, horses as protagonists, landscapes of the Maremma, rendered with bright colors and strong chromatic contrasts. From the beginning of the twentieth century, while exhibiting throughout Italy and abroad, he moved to Piedmont and approached pointillist painting: while continuing to prefer rural landscapes and bucolic realities, he represented them in the atmospheres of twilight, nocturnal, dawns, no longer made with broad brushstrokes, but small strokes divided between them. In 1921 he joined the Labronico Group, which brought him closer to the realist naturalism of the origins. The work presented here offers a glimpse of a Maremma beach, beaten by the libeccio, the wind that blows from the south across the Mediterranean. The technique is that of realism, using large and superimposed brush strokes. In frame.