Items Similar to Horses in the Tuscan Countryside- Gioli Oil 19th Century Tuscany Italian Painter View More
Horses in the Tuscan Countryside- Gioli Oil 19th Century Tuscany Italian Painter
Luigi Gioli (Cascina 1854 - Firenze 1947) Horses in the Tuscan Maremma Signed and lower right: L.Gioli Luigi Gioli lived with his brother and with him he became assiduous of late-Macchiaioli environments, with whom he shared an interest in rural scenes, for Maremma subjects and for animal compositions, translated with naturalistic style and with refined pictorial immediacy in the study from life. . Unlike Francesco, who from his debut in a fully Macchiaiolo climate, however, had subsequently developed an autonomous and eclectic path, parallel and analogous to the production of post-Macchiaioli, with modern and international inflections, G., after the initial attention to metric and formal rigor taught from G. Fattori, and despite the assiduous participation in the passionate discussions on the art of friends and colleagues in the villa of Francesco, near Fauglia, he remained tied to a strictly Tuscan language. His works are mostly in private collections. In the absence of a regular academic curriculum, G. remained from the beginning extraneous to the history of painting, and rather, in the first tests dating back to the 1960s, he became interested in episodes of city life, in the rapid and effective dimension of the sketch , and with original features compared to the parallel vein of Francis. This is confirmed by the first pictorial proofs of greater commitment, despite the small size, such as L'Arno alle Cascine datable around 1875 and Sull'Arno in 1877 (reprinted in Winspeare, pp. 78 s.). Here the metric rigor of the composition, the choice to place the focus of the view at the end of the diagonal, where all the lines of force converge, and above all the capacity for synthesis manifest the artist interested in the example of Fattori and his aspiration to place himself within a strictly Macchiaiola derivation. In 1886 he participated together with his brother in the exhibition organized by the Livorno Summer Committee, where he exhibited, in addition to various en plein air tests, two views The races of Florence and the equestrian Circus (unknown location), in which, from strictly Macchiaiole experiments , confronted with eclectic manners and themes, as can be seen also from the simple consultation of the titles of the works present at the Livorno exhibition, and as G. had already tried with a work of 1885 entitled Via del passeggio in Livorno (unknown location). On this line of research lies the painting of the same year Passeggiata alle Cascine (reprint in Winspeare, p. 92) in which the artist tries to blend the description of the environment with the narrative aspect linked to occasionality of the theme. Next to the pictures of challenging format and compositive structure firmly structured and particular, from the accentuated diagonal cut, as in the effective Barroccio pisano (Florence, Gallery of modern art of Palazzo Pitti) or in Carri d'artiglieria (Turin, Galleria d 'modern art', however, is a production of small works in which the note from life never becomes a sketch, and even in the small format, G. studies the compositional relationships, managing to never make the middle axis coincide with the center focal point of the scene and arriving at the evidence of detail without diminishing its attention towards the globality of the scene; an example is Landscape and Women in the garden. In 1887 he was present at the Venice Biennale with the painting Return from the pasture (unknown location), presented again in Paris in 1889 (Donzelli); always in 1889 he exhibited in Paris and was awarded for the opera Scena di Maremma (unknown location). From this date he participated in major national exhibitions and, regularly, in those of the Society of Fine Arts in Florence. In Milan he presented in 1894 in the meadows and cow fair (location unknown), always gaining interest and attention from the public and critics. In the lively environment of Fauglia, the two brothers participated in these years in a dynamic climate, to which the writer R. Fucini also enthusiastically joined, who in 1890 was preparing a new edition of the Blacks Veglie enriched with illustrations, whose execution he had the Gioli brothers among the protagonists, next to N. Cannicci, V. Corcos, S. Bruzzi, E. Cecconi, G. Fattori; in particular, G. illustrated the story Tornan of Maremma. However, his friendship with Fucini did not remain an isolated fact, so much so that the writer wanted to increase his art collection with a work by G., Via Tornabuoni in the rain, with a significant dedication by the painter "to his friend Fucini" ( The Macchiaioli by R. Fucini, p. 160). Fucini's paintings have been lost since 1984, when they were stolen. A production belongs to the nineties where the brushstroke becomes rapid, "to impression", and the palette is lightened in vaporous and ephemeral pastel colors; the themes that have always been dear to the artist, such as the subjects of the city and military maneuvers remembered by the Farmer, give rise to an ever-increasing number of rural subjects, who become, by advancing over the years, a sort of handbook of rural life: the seed, haystacks, oxen, the fair, expressed lightly, sometimes with repetitive and amateurish summary, very different from the challenging canvases of the eighties. The viale di San Rossore of around 1890 and Boats in the dock (repr. Ibid., Pp. 96 s.) Of the beginning of the new century are particularly worthy of note. Alongside this production, G. developed graphic research, in a series of etchings and sometimes lithographs that reproduce the factories of horses and, even if they do not reach the variety and sensitivity of touch of the master, constitute a corpus of interest for ability to sign and effectiveness of vision (Winspeare, p. 92). Having passed away in 1922 Francesco, who had so often constituted a binding example for his brother, G. assiduously attended the Livornese painter G. Kienerk, who got into the habit of spending the summer months in the villa at Poggio alla Farnia near the villa dei Gioli near Fauglia. Over the years the artist gradually became isolated. G. died in Florence on October 27th. 1947. The measurement shown is of the painting without frame. Italian Fine Arts Authority must check this item in order to allow its exportation. This process lasts about 60 days.
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