Dix-Neuf Peintures de Picasso - Original Catalogue by P. Picasso - 1946

1946

Picabia La Nuit espagnole - Poster Exhibition is a mixed colored offset print realized in 1986. This print was realized on the occasion of the exhibition dedicated to the artist and...

A Autograph Letter Signed by Filippo de Pisis accompanies a b/w photographic portrait (cm 11 x 9) of the young Italian artist, with his Basque-hat on his head, smoking a pipe and with his parrot on his shoulder. This composition, in perfect condition, is mounted under passepartout, plexiglass, and gilded frame (cm 40.5 x 2 x 54.5). The manuscript is addresses to Gaetano Chiurazzi. Venice, January 20th 1947. One page, single-sided. On letterhead paper “Ne nous embarbouillons pas dans les métaphores” (Balzac). cm 23 x 14.5. In 16°. In Italian. Signed “F. de Pisis”. Excellent condition, except for usual folds. Perfectly readable An affectionate greeting letter written with a rapid calligraphy by the artist had just returned to Italy, to Venice, after a short stay in Paris, with the first symptoms of a disease that will lead him to death. The artist writes to his friend, the Italian gallerist, Gaetano Chiurazzi (Naples,1899- Rome,1967), best-known as "Tanino". This letter will be delivered to Tanino by a great admirer and collector of de Pesis. A manuscript demonstrates how de Pisis spent his life: between Rome, Paris and Venice, living a very extravagant lifestyle; he had a pet parrot named Coco, and in Venice he was one of a handful of residents at the time who used a gondola. He had two personal gondoliers on 24-hour duty, who wore black-and-gold livery. Filippo de Pisis (born Luigi Filippo Tibertelli, Ferrara 1896 – Brugherio 1956) When he was 20 years old, the young painter from Ferrara had a meeting that changed his life. During his military service, he met the "Dioscuri", the brothers De Chirico and then Carrà. He was sure impressed by their way of seeing painting and, at the beginning, shared the metaphysical style. After a short stay in Rome and Paris, at the beginning of the 1920's, he started to rework his style, made of suggestions and original subjects, where the pictorial line is fragmented and, therefore, defined by Eugenio Montale as "fly-paw painting". The friendship with Julius Evola...