Enzo Benedetto

Cyclists in the Countryside (1922)

1922

Artist: Raffaele Armenise oil on canvas, 102 x 74 cm signed lower left "R. Armenise" Exhibition: Promotrice di Belle Arti in Genoa 1907, p. 30, n 244 Influenced by the realism of th...

Artist: Ettore Tito Medium: oil on panel Signature: Signed lower left “E. Tito” Exhibitions: Venice Biennale of 1932, p.96; Exhibition of Italian Art, Budapest of 1936, n. 420; Ital...

oil canvas, 72 x 73 cm Signed top right: "R. Focardi 1929". Ruggero Focardi (Florence, 1864 - Quercianella Sonnino, 1934) received his early training at the side of his father and ...

Artist: Carlo Socrate Medium: oil on canvas Signed and dated lower right 'C. Socrates 1924'.
On the back cartouche of Galleria Pesaro
Exhibitions: Exhibition of Twenty Italian Artist...

Artist: Gino Parin Medium: oil on canvas Signed on the base: Signed in the centre right "Gino Parin" Notes: The back bears a cartouche with the title of the work and the 1935 Venice ...

signed and dated lower right 'A. Calcagnadoro 1902'. In this majestic view of the Marmore Falls (Umbria), dated 1902, Calcagnadoro exhibits a naturalism full of symbolic evocations, in which the water element is the protagonist of the view. The place, visited by many artists and writers during the grand tour of Italy, is perfectly rendered in its wild and bursting dimension. Son of art (his father Cesare Calcagnadoro was an appreciated decorator), the artist from Rieti worked for a long time in the field of decorative art, achieving his most important successes with monumental paintings for architectural environments (Rieti, Sala Consiliare; Ligurian Pavilion at the Ethnographic Exhibition of 1911; Salone dei Ministri in the Palace of the Ministry of Education). The fame he achieved through this type of activity led him to obtain first a chair at the "Scuola preparatoria alle arti ornamentali" (preparatory school for the ornamental arts) of the municipality of Rome, then at the Institute of Fine Arts, where he was in close contact with Adolfo De Carolis. In parallel with his work as a decorator, Calcagnadoro devoted himself with enthusiasm and greater creative freedom to easel painting, constantly presenting the results of his research at national exhibitions. After his initial attempts to explore the themes of antiquity, in the early years of the 20th century the painter turned to the 'humanitarian socialism' of Duilio Cambellotti, Giacomo Balla, Giovanni Prini and Domenico Baccarini. His socially themed works convinced critics and institutions alike, as evidenced by the gold medal he was awarded for his painting The Unemployed, a dramatic painting of denunciation exhibited at the Florence Promotrice in 1904. Perhaps in deliberate opposition to the rhetorical language of architectural friezes...

Mikhail Yakhilevich (Israeli, Russian) Boating 116x89 cm oil on canvas Michael Yakhilevitz was born in 1956 in Moscow. He graduated from The Stage Design Department of The Moscow Ar...

A. J. Bennett (South African, fl. Early 20th century) Light and Shade • Oil on canvas artist board ca. 42.5 x 29.5 cm • Later frame ca. 53.5 x 41 cm Worldwide shipping is complime...

After touring Europe on a motorcycle, he arrived in Berlin in 2012, where he won a residence for artists with a pictorial series on massification and nihilism. In 2014 he was invited for a residence in Colombia, and subsequently he has travelled to Mexico, Guatemala and Cuba. The experience of Central America affects his painting so much that it becomes gestural and dominated by strong and bright colors. Contact with indigenous communities contributed to the formation of his thought and poetics, which suggests accessing an irrational dimension that cannot be explored through science and technology.

After touring Europe on a motorcycle, he arrived in Berlin in 2012, where he won a residence for artists with a pictorial series on massification and nihilism. In 2014 he was invited for a residence in Colombia, and subsequently he has travelled to Mexico, Guatemala and Cuba. The experience of Central America affects his painting so much that it becomes gestural and dominated by strong and bright colors. Contact with indigenous communities contributed to the formation of his thought and poetics, which suggests accessing an irrational dimension that cannot be explored through science and technology.

I am not afraid to define it as a metaphysical painting, - says Angelo Crespi - and right in the suffix "beyond" (in Greek "meta") also of the title "Oltremare" the intent to climb over the wall of the sensible and the real is revealed. There is another vein to which the new paintings of Nahmad refer and it is that of Romanticism, in the strong idea that art should represent the sublime, not the beautiful. The skies like John Constable, thick with purplish blue clouds (such as "Rainstorm over the Sea" of 1828 which anticipates by a century modernity), the stormy seas like William Turner, give the viewer the idea of infinity and vastness of nature compared to the finitude and misery of the human. If Caspar Friedrich...

Karen Shahverdyan „Eleven“ 129 X 147cm, oil on canvas