Francesco Christofanetti Art
Italian, 1901-1951
Francesco Cristofanetti was a first-half 20th-century Italian painter who trained in the School of Paris style and eventually traveled to America in the 1940s. He had a one-man show at New York's Valentine Gallery and exhibited at the Museum of Modern Art in New York as part of "Twelve Contemporary Paintings." Art critic Emily Genaurer of the New York World-Telegram described Cristofanetti's work as, "lyric, innocent, extraordinarily sensitive studies of the simplest things." He also designed sets for the Juilliard School in New York City.
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Artist: Francesco Christofanetti
Carnival Cart School of Paris Surreal Figurative
By Francesco Christofanetti
Located in Soquel, CA
Charming surreal oil on board painting of carnival wagon by Francesco Christofanetti (Italian, 1901-1951), 1925. Signed lower left and on verso has inventory notion of 1939. Image size: 12"H x 16"W. Presented in rustic art nouveau giltwood...
Category
1920s Aesthetic Movement Francesco Christofanetti Art
Materials
Oil, Cardboard
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Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification.
This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance.
At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence.
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Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch.
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