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Pirandello evolved his style around the [[1950s]], re-absorbing suggestions from the [[cubism|cubist]] models (i.e., [[Braque]] and [[Picasso]]), and thus living the troubled and difficult phase affecting the whole [[Italian painters|Italian painting art]], between "[[realism]]" and "neo[[cubism]]", yet achieving thorugh the deformations of an [[expressionism|expressionist]] approach, original formal solutions in between [[Abstract art|abstraction]] and [[figurative art|figuration]]<ref>E.g., his ''Natura morta (Still life)'', [[1955]], Roma, private collection.</ref> His paintwork sought a new definition, with a strong reference to a [[Cubism|cubist]] [[syntax]] in the colour tassellations and in those compositions where the narrative datum gradually loses importance.
Pirandello evolved his style around the [[1950s]], re-absorbing suggestions from the [[cubism|cubist]] models (i.e., [[Braque]] and [[Picasso]]), and thus living the troubled and difficult phase affecting the whole [[Italian painters|Italian painting art]], between "[[realism]]" and "neo[[cubism]]", yet achieving thorugh the deformations of an [[expressionism|expressionist]] approach, original formal solutions in between [[Abstract art|abstraction]] and [[figurative art|figuration]]<ref>E.g., his ''Natura morta (Still life)'', [[1955]], Roma, private collection.</ref> His paintwork sought a new definition, with a strong reference to a [[Cubism|cubist]] [[syntax]] in the colour tassellations and in those compositions where the narrative datum gradually loses importance.


He exhibited widely, during the whole course of his artistic life, with displays at the various [[Biennale di Venezia|Biennales]]<ref>Cf., ''int. al.'', [http://www.scuolaromana.it/document/doc090.htm image of 1934]: sala della Biennale room dedicated to Pirandello, with his ''La scala (The ladder)'' well visible in the background.</ref> at the [[Quadriennale di Roma|Roman Quadriennales]], and personal expos at the [[Galleria della Cometa]], Galleria del Secolo, Gallery of Rome. Among those after [[WWII]], noticeable were his anthological exhibition at Ente Premi Roma in [[1951]], the persona of [[1955]] at the Catherine Viviano Gallery of [[New York]] and the personal at "Nuova Pesa " of [[Rome]] in [[1968]].
He exhibited widely, during the whole course of his artistic life, with displays at the various [[Biennale di Venezia|Biennales]]<ref>Cf., ''int. al.'', [http://www.scuolaromana.it/document/doc090.htm image of 1934]: [[Biennale di Venezia|Biennale]] room dedicated to Pirandello, with his ''La scala (The ladder)'' well visible in the background.</ref> at the [[Quadriennale di Roma|Roman Quadriennales]], and personal expos at the [[Galleria della Cometa]], Galleria del Secolo, Gallery of Rome. Among those after [[WWII]], noticeable were his anthological exhibition at Ente Premi Roma in [[1951]], the persona of [[1955]] at the Catherine Viviano Gallery of [[New York]] and the personal at "Nuova Pesa " of [[Rome]] in [[1968]].



==Notes==
==Notes==

Revision as of 10:58, 3 June 2011

Fausto Pirandello
NationalityItalian
EducationScuola Romana
Known forPainting
Notable workComposizione con nudi e pantofole gialle 1923

Donne con salamandra 1930
La Scala 1933
Il bagno 1934
La pioggia d'oro 1934
Crocifissione laica 1935

Spiaggia affollata 1939
MovementContemporary

Fausto Pirandello (born 1904), was an Italian painter belonging to the modern movement of the Scuola romana (Roman School). He was the son of Nobel laureate Luigi Pirandello.[1]

Biography

After a short experience in Paris, where he met the most important artistic personalities of the time between 1920 and 1930, Pirandello entered the movement of Scuola Romana, distinguishing himself for originality and solitary exploration. His original painting tends towards a quotidian realism manifested at times in the more unpleasant and pitiless aspects of life, by expressing itself through a dense and thorny pictorial matter.[2] His vision is an intellectualist one, which however translates even the most brutal naturalist datum into a sort of magic realism with an archaic and metaphysical taste.[3]

Pirandello’s style goes from cubism, to tonalism, to realist-expressionist forms: [4] Important in this period was his participation to the activities of literary magazine "Corrente di Vita". Pirandello’s work became an impressive testimony of a poet who interpreted in painting the analysing and psychological spirit of his father Luigi.[5]

Pirandello evolved his style around the 1950s, re-absorbing suggestions from the cubist models (i.e., Braque and Picasso), and thus living the troubled and difficult phase affecting the whole Italian painting art, between "realism" and "neocubism", yet achieving thorugh the deformations of an expressionist approach, original formal solutions in between abstraction and figuration[6] His paintwork sought a new definition, with a strong reference to a cubist syntax in the colour tassellations and in those compositions where the narrative datum gradually loses importance.

He exhibited widely, during the whole course of his artistic life, with displays at the various Biennales[7] at the Roman Quadriennales, and personal expos at the Galleria della Cometa, Galleria del Secolo, Gallery of Rome. Among those after WWII, noticeable were his anthological exhibition at Ente Premi Roma in 1951, the persona of 1955 at the Catherine Viviano Gallery of New York and the personal at "Nuova Pesa " of Rome in 1968.

Notes

  1. ^ Cf. C. Gian Ferrari, Fausto Pirandello, Rome 1991. See also Biographical Note, on Scuolaromana.it and image[1]. Accessed 31 May 2011
  2. ^ Cf. F. Negri Arnoldi, Storia dell’Arte Moderna, Milan 1990, pp.616-620.
  3. ^ E.g., seeimages of Composizione con nudi e pantofole gialle, 1923 ("Composition with nudes and yellow slippers"), Donne con salamandra, 1930 ("Women with salamander"), Crocifissione laica, 1935 ("Lay Crucifixion"). See also the concomitant style of Emanuele Cavalli.
  4. ^ Art critic Gianfranco Contini for instance, calls it an example of "expressionist painting" in a letter to writer Carlo Emilio Gadda, cf. Carlo Emilio Gadda, Lettere a Gianfranco Contini (“Letters to Contini”), 1934/1967, Milan, 1988, p.28.
  5. ^ Among his best know paitings of this phase, to be mentioned are Il bagno, 1934, La pioggia d'oro (Rain of gold), 1934, La Scala 1933; also noticeable his still lifes and a variant of The Bathers, in the cubist manner.
  6. ^ E.g., his Natura morta (Still life), 1955, Roma, private collection.
  7. ^ Cf., int. al., image of 1934: Biennale room dedicated to Pirandello, with his La scala (The ladder) well visible in the background.

Bibliography

See also


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