Contemporay Painting G. Migneco Fisherman Oil on Canvas - Fisherman

Untitled, 1998

Oil painting on canvas. Signed and dated lower right. Riccardo Licata, an eclectic artist who dedicated himself to painting, engraving, mosaic, sculpture and also scenography, has gone through various phases of artistic research and has been able to combine abstraction with a profound search for spatial rhythms marked by signs . His graphic-pictorial writing, inspired by music, has given a unique identity to his works, which stand out for the skilful use of symbols and graphic features. The work is presented in a frame.

Female Figures

Oil painting on canvas. Signed lower left. Mino Maccari's artistic production is mainly aimed at social and political satire, expressed above all through drawing; moreover, he never positioned himself as a judge of Italian customs, but rather as an amusing and amused chronicler of the vices and weaknesses of society. In his pictorial production, although he does not deviate excessively from the themes of his drawings, he accentuates the fantastic aspect more: with rapid and decisive brushstrokes and bright, often violent colours, he characterizes almost unreal or rather caricatural figures. The work is presented in a frame.

Saint George 1992

Oil on panel. Signed bottom right. On the back, with Cyrillic characters, there is the title, the date and the location, Bergamo. The Lithuanian artist, who currently lives and works between Moscow, Italy and the United Kingdom, is considered one of the most important contemporary Russian artists. In his large production there are landscapes, still lifes, many portraits of famous people and his surreal compositions, an expression of his peculiar "dream vision" of reality. Even in this table, albeit in the style of traditional icons, the depiction of the famous St. George is proposed in a surreal key that reminds of De Chirico, in which the dragon is replaced by a goose, the Saint's head is an egg, in the outlines there are figures of sorceresses... a clearly unorthodox interpretation! The panel has a vertical slit. The piece is presented in a frame.

Tempera, pencil and charcoal on paper. Signed on the back. The drawing is registered in the Archive Fausto Melotti with code DIS 84020. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his artistic vision. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Mountain Cabins

Oil on wood. signed lower right. Mario Moretti Foggia lived and worked until his death in Macugnaga, the mountain town in the Ossola Valley that he often depicted in his works, often offering glimpses of mountain huts in the valleys as in this work. Trained at the school of Tallone, Moretti Foggia was predominantly a landscape painter, who proposed realistic views characterized by a very bright and material chromatic palette. The work is presented in a period frame.

Figure in Rest 1969

Pen on paper. Signed lower right. Accompanied by photo authentication from the Mario Tozzi Archive. In Maestro Tozzi's extensive production there are many drawings, such as this one presented here, made with different techniques (ink, pastel, pencil, sanguine), dedicated to the human figure: in his dry and stylized style, Mario Tozzi outlines stylized, refined figurines in their silent and discreet geometry, favored by the absence of color, which brings out the forms on the white paper. Even in his pictorial production, Mario Tozzi's favorite subjects are, classically, figures and still lifes, but both figures and death are a set of solid geometric elements, the sphere, the cylinder, the cone, etc. The bodies are elementary, essential in the lines and details, powerful, statuesque, composed of just modeled solids, while the still lifes are a celebration of Euclidean geometry such as the jugs, bowls, flasks which are paradigms of volume and geometric rigor . Mario Tozzi's compositions are influenced by Cubism for certain cuts, by Metaphysics for certain architectural insertions and by Abstractism for the insertion of geometric figures. The work is presented in a frame.

Winter landscape

Pastels on paper applied to canvas. Signed lower left. The large landscape is completely dominated by the play of colour: divided into two hemifields given by the sky and the earth (a mountainous land where sporadic fir trees sprout), it sees the pinkish blue of the sky prevail above, under the greenish blue of the snow on the ground , two shades of the same color range that then meet in the skyline of the mountains. Cinotti was a landscape painter who was an exponent of Italian Divisionism, whose painting is characterized by a material and pasty application with touches of spatulated color. In coeval frame.

Sur le Canapé d'Argent pâle 1911

Color lithograph on vellum paper. The title at the bottom left. On the passepartout the name and the wording "original lithographie". It is planche n.10 of the "Amour" series, created in 1899 by the French artist and inspired by the love poems Denis wrote for his future wife, Marthe Meurier. Some replicas of the initial series were made, of which the one on tissue paper dated 1911. Maurice Denis, French painter, was artistically formed in coincidence with the birth of the symbolist movement that strongly influenced him, imposing himself for his simplicity and for his philosophy of a art that was a synthesis between the external world and the artist's spirituality. In his earliest works, the pictorial style was naturalist and neo-impressionist, but over time tended towards a pure decorativism, characterized by areas of flat color and clear outlines. In 1888, at the Julian Academy in Paris, Maurice Denis founded with Paul Sérusier, Pierre Bonnard 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. Of the Nabis meetings, usually held in the editorial office of the magazine "Revue Blanche" or at the Ranson Academy, Denis particularly appreciated the mystical climate, the esoteric jargon and the nickname that each painter received from the group: Denis was called "the Nabi by the nice pictures". As "Nabi" Maurice Denis painted intimate, enigmatic pictures and the themes of his painting, of a religious nature or situations of everyday life, were brought into an ideal and unreal dimension, in an atmosphere of warm and serene intimacy, obtained with an extremely delicate feature. A constant in his life was the profession of the Catholic faith, which always had a priority role for him. He received numerous commissions for the decoration of churches and this made him return to the great tradition of mural painting by performing solemn frescoes of monumental structure, inspired by a literary Catholicism. The religious fervor led Maurice Denis to found, in 1919, the Ateliers d'Art Sacré, dedicating a lot of time to prayer, so much so that he became the tertiary of San Domenico, without isolating him from the world, for which he participated in the social life of the time. In addition to his vast production as a painter, Denis was a great draftsman and illustrator. Until his death Maurice Denis continued to paint in a modern interpretation of the great ancient painting, supported by his strong artistic vein, continuously fueled by his travels, many of them in Italy, which led him to come into direct contact with the Pre-Raphaelites and the neoclassicals.

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.