Mirror Glass - Italy XX Century

The Abandoned Mill Pofabbro 1928

Oil painting on canvas. Signed lower right. Further signature, title and date on the back. Born in Venice in 1872, Vittore Antonio Cargnel enrolled at the Venice Academy, but his training took place above all in the studio of Cesare Laurenti, a well-known and esteemed painter with a symbolist tendency, and in the observation of the works of Ciardi, Favretto and Nono. He participated in the first three editions of the Venice Biennale, with works of character between the symbolist and the intimist; subsequently its production, mainly landscape, became particularly attentive to atmospheric variations. In 1910 he moved to Sacile, where he remained until the defeat of Caporetto, to then return to Milan where he remained until his death in 1931. The work presented here belongs to his last period, and offers a glimpse of Pofabbro, a hamlet of the Val Colvera, in the Carnic Prealps, where the artist spent his last years of life. The work is presented in a contemporary frame.

The Dora in Courmayeur

Oil on plywood. Signed lower right. On the back the title. Considered one of the most poetic landscape painters of the twentieth century, the Lombard painter Ambrogio Vismara transposed his love for his native places into his works, dedicating most of his production, and evoking almost all of them in autumnal atmospheres and tones. His peculiarity was the use of the spatula instead of the brush, which allowed him to obtain an effect of tonal spots, with a sharp contrast of planes. Also this work, which reproduces a landscape not in Lombardy but in the Aosta Valley, re-proposes the warm chromatic themes of autumn, evoked by the scrub of yellow-orange trees, which divide the overhanging alpine peaks, harsh and already partially covered with snow, from the river, still alone. a stream, which flows down along a rocky shore. The work is presented in a style frame.

River Landscape

Oil on hardboard. Signed lower left. Painter, sculptor and architect, Carlo Bonomi, after training at the Brera Academy, opened a studio in Milan together with Carlo Carrà, Giannino Castiglioni and Barilli. His painting is characterized by bright colors - yellow, red and burnt - spread with material substance, as if he sensed a third dimension in painting. He has created works of monumental size, full of figures, seen in their everyday life: humble and industrious people, with deep religious and human motivations. He has never forgotten, on the contrary, he has rather exalted his popular extraction. In this work the artist proposes a large countryside landscape where a river flows, perhaps the Ticino of the places inhabited by the artist: unlike many of his other works, the colors, which prefer the ranges of green, yellow and blue, are spread with broad brushstrokes in soft shades, without contrasts. The work is framed.

The Flock

Oil on hardboard. signed lower right. Painter, sculptor and architect, Carlo Bonomi, after training at the Brera Academy, opened a studio in Milan together with Carlo Carrà, Giannino Castiglioni and Barilli. His painting is characterized by bright colors - yellow, red and burnt - spread with material substance, as if he sensed a third dimension in painting. He has created works of monumental size, full of figures, seen in their everyday life: humble and industrious people, with deep religious and human motivations. He has never forgotten, on the contrary, he has rather exalted his popular extraction. The work is presented in a frame.

S. Giovanni del Tempio Sacile 1910

Oil painting on canvas. Signed and dated lower left. On the back on the frame, the title and further date. Born in Venice in 1872, Vittore Antonio Cargnel enrolled at the Venice Academy, but his training took place above all in the studio of Cesare Laurenti, a well-known and esteemed painter with a symbolist tendency, and in the observation of the works of Ciardi, Favretto and Nono. He participated in the first three editions of the Venice Biennale, with works of character between the symbolist and the intimist; subsequently its production, mainly landscape, became particularly attentive to atmospheric variations. In 1910 he moved to Sacile, where he remained until the defeat of Caporetto, to then return to Milan where he remained until his death in 1931. The work proposed here presents a glimpse of the hamlet of Sacile, s. Giovanni del Tempio, with the small church of the same name, towards which, on a winter day, indistinct figures go. The work is presented in a contemporary frame.

Oil on the table. late 19th - early 20th century. The panel resumes the production of sacred art of the fourteenth-century models, both in the composition of the figures and in the realization on a gold background, which continues in the coeval frame. In the composition, which is static, Mary is in the center holding the Child in her arms, while two saints look out from behind her, a Franciscan on the right, an old man on the left, both with the handle of the pilgrim's saddlebag.

Landscape with Mountains

Oil on wooden table. Signed lower right. On the back, the scroll of the "Salvetti Art Workshop" in Milan. Stefano Bersani, Lombard artist and poet, devoted himself to the painting of life, even the most humble and common; in fact, among his works, in addition to various Lombard landscapes, such as this one proposed which has the Alpine chain as a background, also scenes of the fields with figures of peasants, farm animals, folk figures. He participated in many competitions, exhibited in numerous Lombard galleries and was in great demand in noble houses, where he was also an interior painter. The work is presented in a contemporary frame.

Couple in the Woods

Oil on the table. Signature lower right. Panerai was an Italian painter, teacher and illustrator, originally from Florence, where he studied at the Academy of Fine Arts having as master Giovanni Fattori who introduced him to the naturalistic landscape painting of the Tuscan Maremma. He was also attracted by the military theme, with scenes of military and seafaring life, and distinguished himself as an animalist painter, gifted with acute sensitivity. His style refers to a sketchy impressionism, easy, fresh, lively. The work is presented in a style frame.

Laundresses

Oil painting on canvas. Signed lower right. Rich in lights and colors, the painting offers an impressionist moment of the daily life of two washerwomen, intent on their work on the edge of a city canal. The work refers to the impressionist influences that Flumiani, an artist from Trieste, brought back from his study stay in Munich and from his meeting with his fellow citizen Umberto Veruda (1868-1904): the short and quick but large brushstroke appears to be impressionist. search for the play of light and colors, while the color tonality remains in the Veneto region. Ugo Flumiani's production is characterized precisely by a landscape production of marine: his favorite subjects are views of the Venetian lagoon, villages by the sea or boats that sail placidly, in any case always subjects in which aquatic surfaces can appear, in which the artist can make chromatic and luminous vibrations reverberate. The landscape is always the protagonist of Flumiani's works, even where human figures are inserted: even the two washerwomen in the painting presented here are part of the landscape, they are inserted in a harmonious, continuous way, without interruptions or chromatic and lines. The work is presented in a contemporary frame.

Turkeys

Oil on plywood. Signed lower right. On the back there is a title block with the indication N.9 and the title. An artist from Livorno of the Labronico Group, Giovanni Lomi dedicated himself to the production of figures and landscapes, expressing a strong lyricism especially in the marinas. He was also a decent baritone and knew how to combine the love for music with that for painting. Growing up in the countryside in a family of poor social extraction, he developed a love for nature and animals, which were often the subjects of his works. The work is presented in a style frame.

Val d'Aosta

Oil on plywood. signed lower right. Further signature and title on the back. Born in Como, Giulio Cisari graduated from the Brera Academy, where he was also a teacher for many years. Attracted by color, he first approached landscape painting, to then devote himself to black and white. Under the guidance of A. De Carolis, he perfected himself in all reproduction techniques, from lithography to copper engraving, finding his preferred means of expression in woodcut. He was also an illustrator. Work in frame.

Print on paper. Rare anti-racist poster which, as indicated below, was published as a supplement to the magazine "MAI" of June '68, in the series "I manifesti di MAI di Giò" (Giorgio Tavaglione). It is a manifesto of the beat movements that spread in Italy in the years 1967-1968: thanks to the use of the mimeograph, which allowed the printing of numerous flyers, posters, poetic anthologies, small plaquettes and especially magazines, the young beatniks they created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. Work in frame.