Contemporary Painting M. Cortiello 1976 City Glimpses Oil on Canvas - Paris 1976

Poppies in Vase 1948

Oil on canvas. Signed and dated lower left. Composition of poppies in vase, with ceramic Madonnina on the rear wall. Noel Quintavalle (known under the pseudonym Noelqui), a native of Ferrara but raised and artistically trained in Milan, was a multifaceted artist. Graduated in architecture, he was self-taught in the arts, but after the great war in which he actively participated, he quickly distinguished himself and exhibited in numerous national and international exhibitions; in the meantime he also carried out literary activities by publishing various volumes (satire, fairy tales, short memories of the war) and also experimented with sculpture and xylography. His pictorial production, which began as a pointillist, was then influenced by the synthesis of modern painting. The subjects most dear to him were the portrait (with a preference for particular female figures, such as dancers) and the landscape. His production of floral subjects dates back to the 1940s, linked to the period in which he recovered the need for interiority, approaching the aesthetic concepts of the art of the "twentieth century". The work is presented in a contemporary frame.

Little Girl

Oil on the table. On the back there are traces of the signature and two labels from Art galleries, the Bottega d'arte of Livorno and the Galleria Manzoni of Milan, bearing the name of the author, the title and the technical data of the work. Livornese by birth, Ludovico Tommasi was trained near the Macchiaioli current, developing a strong sensitivity for color, which led him to create realist works pervaded by harmonious chromatisms. The work is presented in a stylish frame.

Stratosphere 1962

Oil on canvas. On the back there is the title, date and signature of the artist. Present cartouche from the Falchi Gallery in Milan. Felice Canonico was born in Messina, where he made his debut as a self-taught person, making himself noticed within the circuit of city exhibitions; then follows a period of training in Florence with Ardengo Soffici and Pietro Annigoni. From '51 to '60, he collaborated with the major construction sites in Messina. Moving to Milan, he attended the Blu gallery, coming into contact with the most innovative artists of the time: Fontana, Burri, Vedova, Borlotti, Santomaso. He exhibits in Rome, Venice, Paris, London, Stuttgart, Copenhagen, Los Angeles, also winning several prizes. In his long and versatile activity he experiments with the most diverse and alternative artistic techniques. The work is presented in a frame.

Mountain Landscape

Oil on canvas. Signed at the bottom left. Glimpse of snowy peaks with cabins. The tuscan artist Luigi Bini was a painter, ceramist and sculpture not related to the traditional techniques, he loved to experience. His paintings, which include portraits and figure studies, were mainly done in pastel and tempera to achieve lively and soft colour transitions through broad brush strokes. The work in question is presented in a revival frame.

The Euphoria 1976

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work the Pulcinellas dance playfully and wildly with the women, in a party of colour. The work is presented in a frame.

Pulcinella's climb 1973

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without departing from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. The work is presented in a frame.

The Landing of the Sirens 1976

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work, the Pulcinellas joyfully welcome a large group of women disembarking from an arriving ship. The work is presented in a frame.

Glimpse with Mill

Oil on the table. Signed lower right. Stefano Bersani, Lombard artist and poet, devoted himself to the painting of life, even the humblest and most common; in fact, among his works, in addition to various Lombard landscapes, there are also scenes of the fields with figures of peasants, farmyard animals, popular 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. Here is a glimpse of a river or canal, which flows near the cottages and the mill. The painting is presented in a frame.

Pulcinella at the competitions 1970

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without departing from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work Cortiello the artist depicts very particular horse races, where the jockeys are his typical naked women, cheered on by cheering Pulcinella. The work is presented in a frame.

Paris 1972

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work the setting is in Paris, which he often portrayed in glimpses of city life full of color and animation. The work is presented in a frame.

The Rise of Pulcinella 1971

Oil painting on canvas. Signed and dated lower right. Further signature, title and handwritten declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. This is exactly the subject of the painting proposed here: some Pulcinellas climb a ladder leaning into thin air, one of them floats in the air, and in the meantime they play with some naked women, surrounded by colored circles, balloons, also floating around . The Chagallian reference is evident in these male and female figures, although the mask of Pulcinella refers specifically to the Neapolitan area. The painting is presented in a frame.

Pulcinella's Games

Oil (mixed) on canvas. Signed and dated lower right. Additional signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter, pupil of Gennaro Villani and later friend and collaborator of Umberto Lilloni, participated in the renewal of Neapolitan painting with his own personal style, without straying from tradition. Endowed with fertile invention and remarkable representational ability, he left behind a rich and varied production. Recurring in his production are landscape or urban views, populated by numerous figures, often, in the Neapolitan setting, by Punchinello, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall.