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Alabaster Sculpture by Mario Urbani, Volterra

$2,358.62

£1,765.48

€2,000

CA$3,246.13

A$3,618.15

CHF 1,898.32

MX$44,183.48

NOK 24,036.83

SEK 22,718.46

DKK 15,225.41

About the Item

Alabaster sculpture designed and produced by Mario Urbani in 1930, Volterra. Single piece. Biography Urbani, Mario, architect, painter, artist, (Rome 1885 - Pesaro 1961), SIUSA Mario Urbani studied at the School of Fine Arts in Rome and attended the Architecture Course, graduating in 1909. He worked for three years as a technical draughtsman in the State Railways, then attended the Higher School of Painting of Aristide Sartorio, with whom he made, in 1910-11, some frescoes in the Parliament Hall that celebrated the history of Italy, whose sketches were exhibited at the Venice Biennale in 1909. In the same years he worked alongside some Roman architects: Bazzani, Calderini, Garroni, Pazzi, Pio Piacentini, Pistrucci and Quaroni, contributing to the design of the pavilions for the Universal Exposition in Rome, in 1911, on the occasion of the Fiftieth Anniversary of Rome. In that year, after winning a national competition, he furnished the courthouse of Rome and also executed some frescoes, still extant, at the Viminale and the Ministry of Agriculture, Industry and Commerce inspired by De Carolis, artist present in Rome at the end of the nineteenth century, beginning of the twentieth century. Soon after Urbani began his career as a teacher in Sant'Angelo in Vado, at the Zuccari School of Art. In this town he made late decorations - liberty in a mill, a monument to the fallen, a large copper plate for the church of Santa Maria degli Angeli depicting a woman in classical clothes, on the model of ideal and ossequenti figures to the linear taste of Sartorio. From 1913 to 1927 he took over the direction, besides teaching, at the art schools of Bormio (Sondrio), Naples and Pesaro where he also realized, together with the pupils, works of decoration, furniture and architecture. He also made some small houses with external decorations. In 1924, also in Pesaro, he made the furniture for the office of the lawyer Ferri, the gonfalon of the Province and the gate of the Savings Bank (old house Chiaramonti). In 1925 he renovated the interior of the chapel of San Ubaldo reproducing the structural scheme and the fine style of a work that had been placed in that environment between 1910 and 1920, the Pesaro Altarpiece by Giovanni Bellini with its cimasa. He then, together with Mr. Camerini and G. Rifelli, executed the Benelli garage in via dell'Annunziata and the furniture for prof. Lupi’s home. In the following year he restored, with the reconstruction of most of the wood and paintings, the ceiling of the Metaurense hall of the former ducal palace of Pesaro. In 1927 he finished the bronzes for the architectural heads of the bridge over the Metauro, formed by four pillars in white stone, decorated at the corners of the base with eagles and, above, large braziers. The work had a celebratory function of the battle won by the Romans in 207 B.C. on the army of Asdrubale, recalled by an epigraph in Latin. In 1927 he restored the Grifoni palace (now Ridarelli-Nardini) at Sant'Angelo in Vado and then was forced to leave Pesaro because of his proud and independent character that had led him to clash with a representative of the regime. In 1933 he participated in the second national competition for the doors of the cathedral of Orvieto and would have been winner if the jury had not tried to favor another artist, as revealed in a letter to Urbani the archdeacon of the cathedral, Mons. Domenico Palazzetti. The competition has been suspended and the drawings of the Roman architect have been deposited in the cathedral museum. Also in 1930 the artist decorates and decorates the church of Sabaudia (Latina) with ceramics depicting a Pietà and the fourteen stations of the Via Crucis, with strong plastic reliefs and verists. For the municipality of Pesaro he also made a tour depicting the master Mascagni who was then entrusted with the work, in relief and chiseled silver, on the occasion of the performances of "Barber" and "Iris" directed by him in August 1931. In 1932 he participated in the competitions for the Palazzo del Comune and the headquarters of the Chamber of Commerce of Pesaro with neo-Renaissance projects. He also restored the square of Volterra, rebuilding some ancient architectural parts, now lost, and decorating them with scrap metal in fifteenth-century style. Finally he started a project for a palace of the world and continents, solved in a central building connected to others, arranged in concentric circles around and connected to the first with ramifications. This project was to participate in a competition, then cancelled, for the U.N. headquarters in 1947. The artist has also dedicated himself to painting, creating, during his life, self-portraits and portraits, capturing the characters in a romantic and somewhat decadent attitude. With greater vigor and realism, he represented his fellow Alpine soldiers on the front in the 1915-1918 war. It has therefore moved to stylize the forms as in "The four knights of the world" work performed between 1936 and 1938, which repeats the grandeur and hieraticity of the architecture of the time.The competition has been suspended and the drawings of the Roman architect have been deposited in the cathedral museum. Also in 1930 the artist decorates and decorates the church of Sabaudia (Latina) with ceramics depicting a Pietà and the fourteen stations of the Via Crucis, with strong plastic reliefs and verists. For the municipality of Pesaro he also made a tour depicting the master Mascagni who was then entrusted with the work, in relief and chiseled silver, on the occasion of the performances of "Barber" and "Iris" directed by him in August 1931. In 1932 he participated in the competitions for the Palazzo del Comune and the headquarters of the Chamber of Commerce of Pesaro with neo-Renaissance projects. He also restored the square of Volterra, rebuilding some ancient architectural parts, now lost, and decorating them with scrap metal in fifteenth-century style. Finally he started a project for a palace of the world and continents, solved in a central building connected to others, arranged in concentric circles around and connected to the first with ramifications. This project was to participate in a competition, then cancelled, for the U.N. headquarters in 1947. The artist has also dedicated himself to painting, creating, during his life, self-portraits and portraits, capturing the characters in a romantic and somewhat decadent attitude. With greater vigor and realism, he represented his fellow Alpine soldiers on the front in the 1915-1918 war. It has therefore moved to stylize the forms as in "The four knights of the world" work performed between 1936 and 1938, which repeats the grandeur and hieraticity of the architecture of the time.

Dimensions:

Height: 11.82 in (30 cm)Width: 5.91 in (15 cm)Depth: 2.76 in (7 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Alabaster

Place of Origin:

Italy

Period:

1930-1939

Date of Manufacture:

1930

Condition:

Seller Location:

Milan, IT

Materials

Ceramic

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Mid-Century Vittorio Gentile White Carrara Marble Sculpture , Italy, 1960s

Located in Palermo, IT

"Nudo di donna" beautiful sculpture depicting a stylized woman's body, in white Carrara marble with pink shades. The artwork, characterized by curved volumes on a geometric support in grey marble. Manufacture of the Italian master Vittorio Gentile in 60s, signed lower side. VITTORIO GENTILE (1939 - 2022) Born in 1939, he was interested in the transformation of stone and form since he was a child. At 25 he established himself as a point of reference for a genre sculpture based on research, on morphoglobalism. He understood the sphere as an expansive figure and achieved important successes in Rome and the United States. It is the years of famous sculptures such as "Il Ratto", "Il Torso" that place him among the great contemporary interpreters. A success that will continue in the 80s and 90s and which will culminate in the great exhibition at the Vittoriano in 2003. Vittorio Gentile's forms have an organic genesis. They chase tensions and movements of bodies, abstractions, robust surfaces of shoulders, buttocks, torsos. The monument to Giovanni Falcone...

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