Norma Mascellani

Norma Mascellani (Bologna,  1909 – 2009)

Italian Macchiaioli: Telemaco Signorini

 Marina a Viareggio (ca 1860)

Il lavandaio alla Porta alla Croce, 1872

Telemaco Signorini (Italian pronunciation: [teˈlɛːmako siɲɲoˈriːni]; August 18, 1835 – February 1, 1901) was an Italian artist who belonged to the group known as the Macchiaioli.

more on: http://en.wikipedia.org/wiki/Telemaco_Signorini

Gerardo Dottori, an Italian Futurist

Ciclista

Incendio nella città (City in Flames), 1926

Crocefissione (1928)

Gerardo Dottori (11 November 1884 - 13 June 1977) was an Italian Futurist painter. He signed the Futurist Manifesto of Aeropainting in 1929. He was associated with the city of Perugia most of his life, living in Milan for six months as a student and in Rome from 1926-39.

Dottori's' principal output was the representation of landscapes and visions of Umbria, mostly viewed from a great height. Among the most famous of these is Umbrian Spring and Fire in the City, both from the early 1920s.

http://en.wikipedia.org/wiki/Gerardo_Dottori

A Pompeii fresco: Sappho

So-called Sappho, fourth style fresco; Pompeii, Region VI, Insula occidentalis

A young woman is shown with a pen (stylus) that is used to enscribe writing on the wax tablets she is holding. The net in her hair is made of golden threads and typical for the fashion of the Neronian period.

source: history of Italy

Mario Schifano, Campo di pane

Mario Schifano Campo di pane

Mario Schifano, Erba verde vittoriosa sul giardiniere 1984

Depero Posters for Campari

A poster for Campari

Pupazzo che beve Campari Soda (1926)

Campari Soda bottle (1930)

a poster for Campari

a poster for Bitter Campari

Fortunato Depero (March 30, 1892 – November 29, 1960) was an Italian futurist painter, writer, sculptor and graphic designer.

Depero grew up in Rovereto and it was here he first began exhibiting his works, while serving as an apprentice to a marble worker. It was on a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. Depero was inspired, and in 1914 moved to Rome and met fellow futurist Giacomo Balla. It was with Balla in 1915 that he wrote the manifesto Ricostruzione futurista dell’universo ("Futurist Reconstruction of the Universe") which expanded upon the ideas introduced by the other futurists. In the same year he was designing stage sets and costumes for a ballet.

Giorgio de Chirico

Self-portrait

Mystery and Melancholy of a Street 1914

Self Portrait with Palette, 1924

The Enigma of the Arrival and the Afternoon (1911-12)

Metaphysical Interior with sun which dies, 1971

Giorgio de Chirico (July 10, 1888 – November 20, 1978) was a Greek-born Italian artist. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. After 1919, he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.

see also: http://en.wikipedia.org/wiki/Giorgio_de_Chirico

Italian Futurism: Carlo Carrà

Paesaggio sotto la neve (1910) olio su tela, 

Collezione Marina e Antonio Forchino, Torino

The funeral of the anarchist Galli (1911)

Cavaliere rosso

Manifestazione Interventista (1914)

Western Horseman, 1917

A Pine by the Sea 1921

Autunno al mare (1927)

Carlo Carrà - Foce del Cinquale, 1928

Partita di Calcio (1934)

Carlo Carrà (February 11, 1881 – April 13, 1966) was an Italian painter, a leading figure of the Futurist movement that flourished in Italy during the beginning of the 20th century. In addition to his many paintings, he wrote a number of books concerning art. He taught for many years in the city of Milan.

http://en.wikipedia.org/wiki/Carlo_Carr%C3%A0

Giacomo Balla, Autosmorfia

Autosmorfia (self-portrait)

Self-Portrait (1902)

Girl running on a balcony (1912), oil on canvas

This particular piece of art is a kinesthetic study of a figure in motion. Mimicking the pointillist technique, Balla has not mixed the non-primary colors, but creates them by painting contrasting dots in close contact to one another. This technique is repeated throughout the picture's surface. The artwork does not have a central point of focus. It appears to be continuing outside the canvas to the spectator’s space, emphasizing the continuous character of the girl’s motion.

Dinamismo di un cane al guinzaglio

(Dynamism of a dog on a leash) (1912)

Here Balla got to grips with the problem of recreating speed and flight by superimposing several images on top of each other. Inevitably, the advances that were made by this short-lived movement were eventually to be overtaken by the art of cinematography.

Speed of a Motorcycle 1913-14

Planet Mercury Passing in Front of the Sun, 1914

Mercurio Sole

Plastic Ensemble (1915)

Autostati d’animo (1920)

Future, 1923

Born in 1871, Giacomo Balla was the senior member of the first wave of Futurist painters and was a teacher (Umberto Boccioni and Gino Severini were pupils). His early, pre-Futurist period was influenced by the pointillism of Georges Seurat. In 1912 he joined the Futurist movement. His painting style underwent a dramatic change about 1909 when he became preoccupied with the pictorial depiction of light, movement and speed. In his work to 1914 he decomposed movement and light but his compositions moved ever closer to total abstraction as, for example, with Perils of War (1915). By 1914 Balla was advocating a Futurist lifestyle - he even named his two daughters Propeller and Light - and his energies expanded to include sculpture and the applied arts, especially costume and theatre design. In the Twenties, during the so-called second wave of Futurism, Balla was still a compelling force within the ranks of the new, young Futurists. Gradually giving more value to geometric forms, his style regularly alternated between abstract machine-like constructions and figurative representations. Giacomo Balla died in 1958.

source: trindera