34
"Il cappello blu" - Emilio Rizzi
1/4
Beschreibung
(Cremona 1881 - Brescia 1952 )
Cm 54x44 | In 21.26x17.32
Oil on canvas
He was born in Cremona on May 5, 1881, to Giuseppe, a lawyer, and poetess Laura Botti, the penultimate of five children. After attending the Guido Grandi technical institute in Cremona, he enrolled at the Brera Academy in Milan in 1895, following the courses of the masters: Vespasiano Bignami, Giuseppe Mentessi and Cesare Tallone, who loved and esteemed him as a favorite pupil and made him part of his family. He also formed fraternal friendships with the painter Ambrogio Alciati and the sculptor Siccardi of Bergamo. The paintings of the "Milanese period" bear the influence of late Scapigliata painting, of which Cesare Tallone is a supreme representative, full of intimate portraits with a psychological background, especially of wealthy Milanese bourgeois ladies, richly dressed and placed in warm family settings that are only sketched out. In 1898 he participated in the Italian General Exhibition in Turin. In 1899 he obtained a diploma to teach drawing, a profession he would carry on in life, first, from 1929 to 1939 in Brescia at the figure drawing school known as San Barnaba, then from 1945 to 1951 at the drawing school, which he created, of the Brescia Artistic Association "Art and Culture," and finally, for about a year, from 1951 to 1952 at the state middle school in Chiari. In 1903 Rizzi won the Fanny Ferrari pensioner's competition, announced by the City of Cremona for a three-year scholarship of 1,800 lire to perfect his studies at the Academy of Fine Arts in Rome. In the capital city he found lodging in Via Flaminia at number 89, in one of the rooms in Villa Poniatowski assigned to artists to open studios. Emilio meets and frequents Antonio Mancini, as well as the artists Dazzi, Biazzi and the Brescian sculptor Zanelli, author of the Altar of the Fatherland. He holds a regular course of classes at the Modern Academy of Fine Arts in Rome, along with Antonio Sciortino and Dante Ricci. In this "Roman phase," Rizzi looked closely at Divisionist painting, in vogue at that time in the capital, partly because of the presence of Giacomo Balla, and at so-called social art. His works Orfanella from 1904 (now at the Museo Civico "Ala Ponzone" in Cremona), the large canvas I lavoratori del gas, from 1905, Armonie in bianco, from 1906 (now at the Rizzi-Ferrari Museum of the Aref in Brescia), the Lettrice, also from 1906, and the infortunio, from 1906 presented at the National Artistic Pensionato competition are famous. In those years Rizzi, along with artists and students, frequented many Roman trattorias, and in particular the one where Mancini was staying, on Via Ripetta near the Accademia. This inn was run by the three Anselmi sisters, young and attractive, and their mother, called "sora Nì"; Emilio fell in love with Barbara, one of the three. In 1906 the painter went to Mount Vilio, in upper Ciociaria, with his painter friend Ise Lebrecht from Verona; the venture aroused much curiosity as for a month the two artists stayed under a tent. In 1907 he continued his wanderings in the Latium provinces and visited Palestrina, Terracina, Viterbo; wherever he went he painted following the example of the "XXVs of the Roman countryside," confirming his constant passion for rural and mountain landscapes. Following the custom of those years that attributed great importance to the artistic stay in Paris, Emilio settled in the French capital on February 11, 1909, encouraged by his friend Mancini seeking recognition for his painting through new and important commissions. Rizzi stayed in an elegant "atelier" on the prestigious boulevard Berthier, number 15, not far from the studio of the already famous Boldini, the most important portrait painter of the Parisian upper middle class and for this reason Rizzi's direct "rival." In Paris, the Cremonese painter exhibited several times at the Salon des Independants, important exhibitions and especially large showcases in which invited painters could offer their works to a wide audience, including an international one. In 1910 Emilio sent his works to the I Esposizione d'Arte di Cremona (Cremona Art Exhibition), enjoying wide success and winning a gold medal. In 1911 Rizzi participated in the International Art Exhibition in Rome. He then traveled to the Jura, to St. Claude, to make some portraits commissioned of him there. On July 13 Emilio and Barbara Anselmi were married in Paris in a civil ceremony; the religious wedding was celebrated in Corchiano, province of Viterbo, a town to which they moved after their return from France, only in 1915. In 1913 he was voted for the "Grand Prix" intended only for French Artists, but refused to take French citizenship, he was then given "The Academic Palms," the highest artistic award intended for foreigners. The "Parisian period" is certainly the most important one within the painter's artistic history, in which Rizzi elaborates an absolutely personal style especially in the execution of large portraits of French ladies, so much so that he is called the "peintre de la femme." The chromaticism is dry and elaborate with an intersecting weave of brushstrokes, inherited from the school of Tallone; the underlying drawing is always solid and careful. Some works from this magical artistic period are well known, such as A la glace, from 1910 (owned by the Civici Musei d'Arte e Storia in Brescia), La tazza dorata, from 1911 (now at the Rizzi-Ferrari Museum at the Aref in Brescia), and La vasca da bagno, from 1913 (donated by the artist's daughter to the Ricci Oddi Gallery of Modern Art in Piacenza). Mr. and Mrs. Rizzi spent several months of 1914 in Brittany, at Brignogan in Finistere on the shores of the Atlantic, until Germany's declaration of war on France threw Europe into tragedy on August 2 of that year. Increasingly strict controls on those who were not French convinced him to return to Italy, specifically to Corchiano, where Barbara's sister-in-law Colomba already resided. In 1915, while waiting to be called up for military service, Rizzi stayed in Cremona, taking advantage of the period of great fervor, facilitated by the fame he had acquired in France; he was commissioned to paint numerous noteworthy portraits. On May 24, Italy entered the war, and Rizzi was enlisted in the country artillery as a motor-car driver. On January 18, 1917, Emilio and Barbara's only daughter, Miretta, was born; under dramatic circumstances his wife was rushed to the military hospital in Civita Castellana (Viterbo). Discharged from military service in 1919, Rizzi joined his wife and daughter in Corchiano, in the countryside he had loved so much. The First World War would be recalled by the artist in what is his largest painting of six by three meters, The Mass at the Camp, from 1938 (owned by the Civic Museums of Art and History of Brescia). Fascinated by the gentle and still primitive Sabine landscape, he returned with élan to his innate gifts as a colorist. For a long time the painter was a guest of the Chigi princes in Soriano nel Cimino and the Pignatelli family, as well as Count Celani. In 1921 he stayed briefly in Paris alone, but the postwar crisis and the death of many friends discouraged him and he decided to leave "the atelier" kept until then for good. His brother Ugo, who died in 1913, had opened a roasting and bar business, Rizzi & Persico, in Brescia since 1907; starting in 1921 this obliged him to reside in this city to settle his interests himself. During these years he bought a house in Piazza Loggia, where on the top floor he furnished a new studio that allowed him to return to his real profession. He continued the intense portrait work at which he excelled, becoming the city's most celebrated portrait painter. The faces of the commissioned portraits, made in just a few sittings, emphasize the psychology of the subject, often placed in his environment or in characterizing poses. In 1926 [...]
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(Cremona 1881 - Brescia 1952 )
Cm 54x44 | In 21.26x17.32
Oil on canvas
He was born in Cremona on May 5, 1881, to Giuseppe, a lawyer, and poetess Laura Botti, the penultimate of five children. After attending the Guido Grandi technical institute in Cremona, he enrolled at the Brera Academy in Milan in 1895, following the courses of the masters: Vespasiano Bignami, Giuseppe Mentessi and Cesare Tallone, who loved and esteemed him as a favorite pupil and made him part of his family. He also formed fraternal friendships with the painter Ambrogio Alciati and the sculptor Siccardi of Bergamo. The paintings of the "Milanese period" bear the influence of late Scapigliata painting, of which Cesare Tallone is a supreme representative, full of intimate portraits with a psychological background, especially of wealthy Milanese bourgeois ladies, richly dressed and placed in warm family settings that are only sketched out. In 1898 he participated in the Italian General Exhibition in Turin. In 1899 he obtained a diploma to teach drawing, a profession he would carry on in life, first, from 1929 to 1939 in Brescia at the figure drawing school known as San Barnaba, then from 1945 to 1951 at the drawing school, which he created, of the Brescia Artistic Association "Art and Culture," and finally, for about a year, from 1951 to 1952 at the state middle school in Chiari. In 1903 Rizzi won the Fanny Ferrari pensioner's competition, announced by the City of Cremona for a three-year scholarship of 1,800 lire to perfect his studies at the Academy of Fine Arts in Rome. In the capital city he found lodging in Via Flaminia at number 89, in one of the rooms in Villa Poniatowski assigned to artists to open studios. Emilio meets and frequents Antonio Mancini, as well as the artists Dazzi, Biazzi and the Brescian sculptor Zanelli, author of the Altar of the Fatherland. He holds a regular course of classes at the Modern Academy of Fine Arts in Rome, along with Antonio Sciortino and Dante Ricci. In this "Roman phase," Rizzi looked closely at Divisionist painting, in vogue at that time in the capital, partly because of the presence of Giacomo Balla, and at so-called social art. His works Orfanella from 1904 (now at the Museo Civico "Ala Ponzone" in Cremona), the large canvas I lavoratori del gas, from 1905, Armonie in bianco, from 1906 (now at the Rizzi-Ferrari Museum of the Aref in Brescia), the Lettrice, also from 1906, and the infortunio, from 1906 presented at the National Artistic Pensionato competition are famous. In those years Rizzi, along with artists and students, frequented many Roman trattorias, and in particular the one where Mancini was staying, on Via Ripetta near the Accademia. This inn was run by the three Anselmi sisters, young and attractive, and their mother, called "sora Nì"; Emilio fell in love with Barbara, one of the three. In 1906 the painter went to Mount Vilio, in upper Ciociaria, with his painter friend Ise Lebrecht from Verona; the venture aroused much curiosity as for a month the two artists stayed under a tent. In 1907 he continued his wanderings in the Latium provinces and visited Palestrina, Terracina, Viterbo; wherever he went he painted following the example of the "XXVs of the Roman countryside," confirming his constant passion for rural and mountain landscapes. Following the custom of those years that attributed great importance to the artistic stay in Paris, Emilio settled in the French capital on February 11, 1909, encouraged by his friend Mancini seeking recognition for his painting through new and important commissions. Rizzi stayed in an elegant "atelier" on the prestigious boulevard Berthier, number 15, not far from the studio of the already famous Boldini, the most important portrait painter of the Parisian upper middle class and for this reason Rizzi's direct "rival." In Paris, the Cremonese painter exhibited several times at the Salon des Independants, important exhibitions and especially large showcases in which invited painters could offer their works to a wide audience, including an international one. In 1910 Emilio sent his works to the I Esposizione d'Arte di Cremona (Cremona Art Exhibition), enjoying wide success and winning a gold medal. In 1911 Rizzi participated in the International Art Exhibition in Rome. He then traveled to the Jura, to St. Claude, to make some portraits commissioned of him there. On July 13 Emilio and Barbara Anselmi were married in Paris in a civil ceremony; the religious wedding was celebrated in Corchiano, province of Viterbo, a town to which they moved after their return from France, only in 1915. In 1913 he was voted for the "Grand Prix" intended only for French Artists, but refused to take French citizenship, he was then given "The Academic Palms," the highest artistic award intended for foreigners. The "Parisian period" is certainly the most important one within the painter's artistic history, in which Rizzi elaborates an absolutely personal style especially in the execution of large portraits of French ladies, so much so that he is called the "peintre de la femme." The chromaticism is dry and elaborate with an intersecting weave of brushstrokes, inherited from the school of Tallone; the underlying drawing is always solid and careful. Some works from this magical artistic period are well known, such as A la glace, from 1910 (owned by the Civici Musei d'Arte e Storia in Brescia), La tazza dorata, from 1911 (now at the Rizzi-Ferrari Museum at the Aref in Brescia), and La vasca da bagno, from 1913 (donated by the artist's daughter to the Ricci Oddi Gallery of Modern Art in Piacenza). Mr. and Mrs. Rizzi spent several months of 1914 in Brittany, at Brignogan in Finistere on the shores of the Atlantic, until Germany's declaration of war on France threw Europe into tragedy on August 2 of that year. Increasingly strict controls on those who were not French convinced him to return to Italy, specifically to Corchiano, where Barbara's sister-in-law Colomba already resided. In 1915, while waiting to be called up for military service, Rizzi stayed in Cremona, taking advantage of the period of great fervor, facilitated by the fame he had acquired in France; he was commissioned to paint numerous noteworthy portraits. On May 24, Italy entered the war, and Rizzi was enlisted in the country artillery as a motor-car driver. On January 18, 1917, Emilio and Barbara's only daughter, Miretta, was born; under dramatic circumstances his wife was rushed to the military hospital in Civita Castellana (Viterbo). Discharged from military service in 1919, Rizzi joined his wife and daughter in Corchiano, in the countryside he had loved so much. The First World War would be recalled by the artist in what is his largest painting of six by three meters, The Mass at the Camp, from 1938 (owned by the Civic Museums of Art and History of Brescia). Fascinated by the gentle and still primitive Sabine landscape, he returned with élan to his innate gifts as a colorist. For a long time the painter was a guest of the Chigi princes in Soriano nel Cimino and the Pignatelli family, as well as Count Celani. In 1921 he stayed briefly in Paris alone, but the postwar crisis and the death of many friends discouraged him and he decided to leave "the atelier" kept until then for good. His brother Ugo, who died in 1913, had opened a roasting and bar business, Rizzi & Persico, in Brescia since 1907; starting in 1921 this obliged him to reside in this city to settle his interests himself. During these years he bought a house in Piazza Loggia, where on the top floor he furnished a new studio that allowed him to return to his real profession. He continued the intense portrait work at which he excelled, becoming the city's most celebrated portrait painter. The faces of the commissioned portraits, made in just a few sittings, emphasize the psychology of the subject, often placed in his environment or in characterizing poses. In 1926 [...]
Gemalte Frauen im 19. und 20. Jahrhundert - Italienische Bildende Kunst
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Lose: 35
Ort der Versteigerung
Via F. Cairoli 26
Brescia
25122
Italy
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