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Giorgio Morandi (Bologna, 20 July 1890 - Bologna, 18 June 1964) - Still life with mannequin (1916) - oil on canvas size 49.3 x 59.3 cm - Museo del Novecento, Milan
"I believe that nothing can be more abstract, more unreal, than what we actually see. We know that... the objective world... never really exists as we see and understand it... has no intrinsic meaning of its own, such as the meanings that we attach to it."
- Giorgio Morandi
www.artrepublic.com/biographies/240-giorgio-morandi.html
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Giorgio Morandi (Bologna, 1890 - 1964) - still life (1932-35) - oil on canvas - Museo del Novecento, Florence
Giorgio Morandi (1890-1964) - Natura morta [Still-life] (1943). In the collection of the former Museu Coleção Berardo, now Contemporary Art Museum - Centro Cultural de Belém, Lisbon.
Giorgio Morandi (1890-1964) - Natura morta [Still-life] (1931). In a private collectiom, Switzerland. Shown at the exhibition Edmund de Waal / Giorgio Morandi at Artipelag, Stockholm, summer 2017.
One of my artistic sons introduced me to this interesting artist. It is not easy to achieve the same meditative stillness but it's good fun practising!
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Oil on canvas; 30 x 35 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 30.5 x 30 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 22.8 x 35.3 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Giorgio Morandi (1890-1964) - Natura morta [Still-life] (1923). In a private collectiom, Switzerland. Shown at the exhibition Edmund de Waal / Giorgio Morandi at Artipelag, Stockholm, summer 2017.
Still Life (Natura morta), 1953
Oil on canvas
20.4 x 40.2 cm
The Phillips Collection,
Wasington, D.C.
© 2008 Artists Rights Society (ARS), New York / SIAE, Rome
Oil on canvas; 45.5 x 50 cm.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 24.1 x 39.7 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 49.5 x 52 cm.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 71.5 x 61.5 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Etching; 24.4 x 31.8 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 82.5 x 57.5 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Still Life (Natura morta), 1950
Oil on canvas
40.5 x 45.5 cm
Museo di Arte Moderna e Contemporanea di Trento e Rovereto,
Rovereto, Italy
Giovanardi Collection
© 2008 Artists Rights Society (ARS), New York / SIAE, Rome
Ilford FP4 Plus pushed 2 stops in D76 at 24 degrees Celcius for 14 minutes (instead of the 8 minutes adviced in normal conditions.)
Intaglio print on paper; 14.3 x 12.7 cm.
Born in Sienna in 1898, at the age of nineteen Mino Maccari fought in the First World War as an artillery officer. On his return to Siena in 1920, he graduated in law and started working at the legal practice of a lawyer. It was during these years that he first tried his hand at painting and etching.
Maccari's public debut was with the Labronico Group. In 1922 he took part in the march on Rome.
In 1924 he was asked by Angiolo Bencini to take charge of printing Il Selvaggio, the periodical in which his first etchings were published. In 1926 he gave up his law career to take over as director, a position he held until 1942. In 1925, publication of Il Selvaggio moved to Florence, and its contributors included Ardengo Soffici, Ottone Rosai and Achille Lega. In 1927 Maccari took part in the Second International Exhibition of Modern Etchings and in the Third Exhibition of the Tuscan Union of Art and Design. The following year he went to the XVI Venice Biennial. In 1929, Il Selvaggio moved to Siena, and Maccari exhibited dry-points at the Second Exhibition of the Italian Twentieth Century in Milan. In the early Thirties, he became editor-in-chief of La Stampa in Turin, working alongside the director, Malaparte.
In 1931 he took part in the first Quadrennial in Rome (which he was to repeat in 1951 and in 1955). In 1932 Il Selvaggio moved to Rome. In 1938 he was invited to the XXI Venice Biennial, where he had his own exhibition room. In the same year he contributed to Longanesi's Omnibus and also held an exhibition of his work at the Arcobaleno in Venice. In 1943 he had a one-man exhibition at Palazzo Massimo in Rome and at the Dux Exhibition in Cinquale di Montignoso. In 1948 he again exhibited at the Venice Biennial where he was awarded the international prize for etching (which he was to win again in 1950, 1952, 1960 and 1962). At the end of the Forties he started contributing to the liberal magazine Il Mondo, directed by Pannunzio, which he continued to do until 1963.
In 1955 he exhibited at the Biennial of São Paulo (Brazil). In 1962 he was appointed president of the Accademia dei Lincei. Then, in 1963, he held a personal exhibition in New York at Gallery 63, and in 1967 he took part in the Mostra d'Arte Moderna in Italia 1915-1935 (Exhibition of Modern Art in Italy from 1915-1935"), held in the Strozzi Palace in Florence. There followed a series of personal exhibitions and international exhibitions of graphic design, including the 1977 exhibition in Siena, where a one-man exhibition dedicated to his work was held at Palazzo Pubblico. He died in 1989 in Rome.
Still Life (Natura morta), 1954
Oil on canvas
35.6 x 46.4 cm
Smith College of Art,
Northampton, Mass.
© 2008 Artists Rights Society (ARS), New York / SIAE, Rome
Still Life (Natura morta), 1950
Oil on Canvas
40.5 x 45.5 cm
Museo di Arte Moderna e Contemporanea di Trento e Rovereto,
Rovereto, Italy
Giovanardi Collection
© 2008 Artists Rights Society (ARS), New York / SIAE, Rome
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.