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Federica GalliContemporary water landscape of Venice, Rimedio bridge, print by Federica Galli1986
1986
About the Item
Ponte del Rimedio, Venezia, 1986
platemark mm 79.3 x 34.4
Original etching, signed and numbered. Limited edition of 90.
The etching was exhibited last year in the critical retrospective that the city of Milan promoted and set up to mark the tenth anniversary of her death. Milan's municipality has named a new street to her for the occasion.
The many international and accredited critics who have lingered to appreciate Galli's etchings remark on her ability to combine poetry, architectural precision and interpretative originality.
Federica Galli has always been able to take a fresh look at all the landscapes and architecture on which she has cast her gaze.
Gianni Testori (art critic) and Renzo Zorzi (leading cultural dept in Olivetti at the time) convinced Federica Galli to etch a portfolio on Venice's views between 1984 and 1986. In four years (two years of visits plus two years of work en plein air) she carved 39 plates introducing a new eye to Venezia.
In 1986, at the conclusion of the portfolio, the entire cycle was exhibited at the Giorgio Cini Foundation, which changed its statute for the occasion and opened its doors to contemporary art. The exhibition was sponsored and strongly desired by Olivetti.
NMWA (National Museum of Women in Arts) in Washington conserved the complete Venezia portfolio. Also, her oeuvres are in significant Italian museum collections such as the Pinacoteca Ambrosiana, (the same museum where Leonardo's Codex is conserved) and Museo of Castello Sforzesco, both in Milan; di Milano, Ala Ponzone in Cremona.
Federica Galli's Biography
A prominent figure in the art of engraving in Italy, Federica Galli was born in 1932 in Soresina – a village just outside Cremona.
Straight after the war, in 1946, she convinced her parents to enrol her at the Artistic Lyceum in Milan. In 1950, she attended the Academy of Fine Arts of Brera, from where she graduated four years later with a diploma in painting.
She began engraving in 1954 - "Il paese dell'Alberta"- experimenting with etching, a technique she never abandoned for the rest of her life. In 1966 she married the journalist Giovanni Raimondi – editor-in-chief of the Corriere della Sera. During that time she began to embark on a densely packed programme of cultural trips that took her to the most important European cities and to countries where the art of engraving is less deeply rooted. These were also the year in which she matured the conviction that engraving was the technique in which she expressed herself most effectively and started to apply herself exclusively to this art form, producing over eight hundred different subjects.
Starting from her early personal exhibitions – the first one took place in 1960 in Milan – she met with the favour of the public and critics alike. In the space of a few years, she could count on the support of some of the most authoritative critics of her time: Franco Russoli, Mario de Micheli, Giovanni Testori – who was to follow her closely until he died - Mina Gregori, Gian Alberto dell'Acqua, Roberto Tassi, Renzo Zorzi, Carlo Bo, Daniel Berger (Metropolitan Museum of New York), Gina Lagorio, Giuseppe and Francesco Frangi, Marco Fragonara, Giorgio Soavi and David Landau (Oxford University).
She obtained the most prestigious institutional acknowledgements given to any contemporary artist: she was the first living artist to be invited to exhibit at the Fondazione Cini in Venice - 1987 with a collection dedicated to the lagoon city - ; at the Civic Museum of Palazzo Te in Mantua - 1987 -; at the Castello Sforzesco in Milan - 1988 - ; in the Imperial Archive of the Forbid-den City, Wag Fung gallery, - 1995 -.
Collectors of her works include people of culture from Italy and elsewhere, individuals are known for their cultivated passion for the graphic arts, comprising – just to mention some of the most famous: Dino Buzzati, Leonardo Sciascia, and Francois Mitterand.
An extensive and exhaustive testimony of her works may be viewed at the Ala Ponzone Civic Museum of Cremona, in the Bertarelli Collection of the Castello Sforzesco in Milan, at the Villa Reale of Monza close to Milan.
Between 1954 and 2008, Federica Galli engraved over eight hundred plates focusing on three principal themes: landscapes, trees and cityscapes. Her landscapes are mainly those of the Lombardy plain, with poetic descriptions of its characteristic farmsteads: adding up to about fifty artworks.
The urban views are those of Milan and Venice, cities that held a special meaning in the life of Federica Galli, who expressed her gratitude in the form of a vision that is perceptive and honest but never ordinary.
Her passion for nature, combined with a capacity to bring forth its most fascinating aspects, are revealed in over one hundred plates. Her notorious technical skills enabled her to surmount obstacles that are formidable for engravers, such as the representation of snow and nocturnal scenes, without ever succumbing to affected mannerisms.
The artist has dedicated a collection of works to Italian most important Monumental Trees, with over sixty plants selected for their historical, naturalistic or aesthetic interest. A stunning collection.
Federica Galli, who passed away on 6 February 2009, has entrusted her artistic legacy to a Foundation bearing her name, set up on 17 July 2009 in Milan. She designated leading and goals. The foundation pursues the objective of safeguarding her heritage, artworks, and archives. The Board is chaired by Lorenza Salamon, who operates alongside Flavio Arensi (critic and art director of Palazzo Leone da Perego in Legnano), Ivana Iotta (cura-tor of the Civic Museum of Cremona), Franco Grechi and Alberto Galli.
- Creator:Federica Galli (1932 - 2009, Italian)
- Creation Year:1986
- Dimensions:Height: 31.23 in (79.3 cm)Width: 13.55 in (34.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU431310198852
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