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In [[1933]] Cavalli, together with [[Giuseppe Capogrossi|Capogrossi]] and [[Roberto Melli|Melli]] wrote the "[[Manifesto]] del Primordialismo plastico" ([[Manifesto]] of [[Plastic arts|Plastic]] [[Primordialism]]) defining the [[Tonalism]] Creed, with special emphasis on the style’s spiritual and abstract side. In [[1935]] and [[1943]], Cavalli exhibited a group of paintings at the [[Quadriennale di Roma]], developing the theme of [[painting]]-[[music]] relationships: he displayed a series of feminine figures of different tonalities, and explained this work within the terms of "[[contrapuntal]] sensitivity", comparing it to a "collection of [[preludes]] and [[fugues]] in major and minor tones".<ref>See for example ''[http://www.scuolaromana.it/opere/ope035.htm Bath in the river]'' (1937), and ''[http://www.emanuelecavalli.org/dipinto_ita.php?idopera=O0000062 The Bride]'' (1935) or [http://www.emanuelecavalli.org/dipinto_ita.php?idopera=O0000061 Women]'' (1935). Cf. Biographical article on [http://www.scuolaromana.it/artisti/cavalli.htm "Cavalli"]. <small>Accessed 31 May 2011</small></ref>
In [[1933]] Cavalli, together with [[Giuseppe Capogrossi|Capogrossi]] and [[Roberto Melli|Melli]] wrote the "[[Manifesto]] del Primordialismo plastico" ([[Manifesto]] of [[Plastic arts|Plastic]] [[Primordialism]]) defining the [[Tonalism]] Creed, with special emphasis on the style’s spiritual and abstract side. In [[1935]] and [[1943]], Cavalli exhibited a group of paintings at the [[Quadriennale di Roma]], developing the theme of [[painting]]-[[music]] relationships: he displayed a series of feminine figures of different tonalities, and explained this work within the terms of "[[contrapuntal]] sensitivity", comparing it to a "collection of [[preludes]] and [[fugues]] in major and minor tones".<ref>See for example ''[http://www.scuolaromana.it/opere/ope035.htm Bath in the river]'' (1937), and ''[http://www.emanuelecavalli.org/dipinto_ita.php?idopera=O0000062 The Bride]'' (1935) or [http://www.emanuelecavalli.org/dipinto_ita.php?idopera=O0000061 Women]'' (1935). Cf. Biographical article on [http://www.scuolaromana.it/artisti/cavalli.htm "Cavalli"]. <small>Accessed 31 May 2011</small></ref>


Other important exhibitions were held by Cavalli at the [[Leonardo da Vinci]] Gallery of [[Florence]] in [[1939]] and at the Zodiaco of [[Rome]] in [[1945]], the latter crowned by the appointment as professor of [[Painting]] at [[Accademia di Belle Arti Firenze]]. He thus moved permanently to [[Florence]] with wife Vera Haberfeld.<ref>The niece of [[psychoanalyst]] [[:it:Edoardo Weiss|Edoardo Weiss]], married in [[1935]].</ref>In [[1949]] Cavalli was affected by a deep crisis, increased by his professorship not being renewed and his close friends’ change of style towards [[Abstractism]].<ref>The impression of being rejected by profession and art alike, with the concomitant affirmation of [[abstractism]], depressed him deeply and he even came to destroy some of his previous work. Cf. note in F. Benzi, R. Lucchese, ''Emanuele Cavalli'', [[Rome]] [[1984]].</ref>
Other important exhibitions were held by Cavalli at the [[Leonardo da Vinci]] Gallery of [[Florence]] in [[1939]] and at the Zodiaco of [[Rome]] in [[1945]], the latter crowned by the appointment as professor of [[Painting]] at [[Accademia di Belle Arti Firenze]]. He thus moved permanently to [[Florence]] with wife Vera Haberfeld.<ref>The niece of [[psychoanalyst]] [[:it:Edoardo Weiss|Edoardo Weiss]], married in [[1935]].</ref>In [[1949]] Cavalli was affected by a deep crisis, increased by his professorship not being renewed and his close friends’ change of style towards [[Abstract art]].<ref>The impression of being rejected by profession and art alike, with the concomitant affirmation of [[abstract art|abstractism]], depressed him deeply and he even came to destroy some of his previous work. Cf. note in F. Benzi, R. Lucchese, ''Emanuele Cavalli'', [[Rome]] [[1984]].</ref>


However, Cavalli will continue to paint for the rest of his life, alternating it with [[photography]] and innovative [[imaging]],<ref>See [http://www.scuolaromana.it/document/doc094.htm image] and photogallery [http://www.emanuelecavalli.org/fotografia_ita.php].</ref> receiving important commissions from public and private organisations.<ref>E.g., Monumental Trust of [[Florence]] and the [[Galleria degli Uffizi]], both in [[1952]]. Cf. Also the biographical information and timeline on the [http://www.emanuelecavalli.org/cronologia_ita.htm official website].</ref>
However, Cavalli will continue to paint for the rest of his life, alternating it with [[photography]] and innovative [[imaging]],<ref>See [http://www.scuolaromana.it/document/doc094.htm image] and photogallery [http://www.emanuelecavalli.org/fotografia_ita.php].</ref> receiving important commissions from public and private organisations.<ref>E.g., Monumental Trust of [[Florence]] and the [[Galleria degli Uffizi]], both in [[1952]]. Cf. Also the biographical information and timeline on the [http://www.emanuelecavalli.org/cronologia_ita.htm official website].</ref>

Revision as of 14:18, 2 June 2011

Emanuele Cavalli
NationalityItalian
EducationScuola Romana
Known forPainting, Photography
Notable workLa sposa (The Bride, 1935)

Donne (Women, 1935)

Bagno nel fiume (Bath in the river, 1937)
MovementContemporary
Awards1948 – 1st Prize, II Regional Expo Solvay

1950 - Michetti Prize
1953 – Fiorino Prize Florence
1955 – Prize of the Italian Ministry of Education, VII Quadriennale di Roma
1962 - Frosinone Prize
1966 - Posillipo Prize Naples
1967 – Golden Fiorino Florence

1969 – Fiorino Prize ex-aequo with Corrado Cagli
Patron(s)Massimo Bontempelli, Corrado Cagli

Emanuele Cavalli (born 1904), was an Italian painter belonging to the modern movement of the Scuola romana (Roman School). He was also a renowned photographer, who experimented with new techniques since the 1930s.[1]

Biography

Son of Apulian landowners, Cavalli moved to Rome in 1921 and there he became a student of Italian painter Felice Carena, also attending the local Art College. In 1926 he exhibited some paintings at the Biennale di Venezia, where he will continue to exhibit regularly.

From 1927 to 1930 lCavalli attended some expositions together with painters Giuseppe Capogrossi and Francesco Di Cocco, also travelling to France (1928), where he was introduced by his friend Onofrio Martinelli to the circle of Italiens de Paris (i.e., De Pisis, De Chirico, Savinio and others). He exhibited at the Salon Bovy of Paris with Fausto Pirandello and Di Cocco, then in 1930 returned to Rome where he joined the Scuola Romana.

In a series of exhibitions Cavalli held from 1931 to 1933[2], the artist began elaborating Tonalism, a pictorial and aesthetic style that will find in him one of its best and most refined interpreters, even from the theoretical point of view. In these exhibitions he received the support from important art critics and collectors, as well as from renowned Italian author Massimo Bontempelli, the uncle of his friend Corrado Cagli and the promoter of "Magic realism", a literary and artistic movement which had many similarities with tonalistic painting.

In 1933 Cavalli, together with Capogrossi and Melli wrote the "Manifesto del Primordialismo plastico" (Manifesto of Plastic Primordialism) defining the Tonalism Creed, with special emphasis on the style’s spiritual and abstract side. In 1935 and 1943, Cavalli exhibited a group of paintings at the Quadriennale di Roma, developing the theme of painting-music relationships: he displayed a series of feminine figures of different tonalities, and explained this work within the terms of "contrapuntal sensitivity", comparing it to a "collection of preludes and fugues in major and minor tones".[3]

Other important exhibitions were held by Cavalli at the Leonardo da Vinci Gallery of Florence in 1939 and at the Zodiaco of Rome in 1945, the latter crowned by the appointment as professor of Painting at Accademia di Belle Arti Firenze. He thus moved permanently to Florence with wife Vera Haberfeld.[4]In 1949 Cavalli was affected by a deep crisis, increased by his professorship not being renewed and his close friends’ change of style towards Abstract art.[5]

However, Cavalli will continue to paint for the rest of his life, alternating it with photography and innovative imaging,[6] receiving important commissions from public and private organisations.[7]

Notes

  1. ^ Cf. F. Benzi, R. Lucchese, Emanuele Cavalli, Rome 1984. See also Biographical Note, on Scuolaromana.it and image[1]. Accessed 31 May 2011
  2. ^ At the Gallery of Rome (May and December 1932: two collective expos with Corrado Cagli and Giuseppe Capogrossi), at the Milan Gallery Il Milione (February 1933, again with Cagli & Capogrossi), at the Parisian Gallery J. Bonjean (December 1933).
  3. ^ See for example Bath in the river (1937), and The Bride (1935) or Women (1935). Cf. Biographical article on "Cavalli". Accessed 31 May 2011
  4. ^ The niece of psychoanalyst Edoardo Weiss, married in 1935.
  5. ^ The impression of being rejected by profession and art alike, with the concomitant affirmation of abstractism, depressed him deeply and he even came to destroy some of his previous work. Cf. note in F. Benzi, R. Lucchese, Emanuele Cavalli, Rome 1984.
  6. ^ See image and photogallery [2].
  7. ^ E.g., Monumental Trust of Florence and the Galleria degli Uffizi, both in 1952. Cf. Also the biographical information and timeline on the official website.

Bibliography

See also


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