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Umberto Mastroianni 1960s Original Etching
About the Item
Beautiful black and white lithograph by the great 20th century Italian artist Umberto Mastroianni.
This work best represents the work of one of the greatest artists of the European avant-garde of the first half of the 20th century.
Numbered 10\75 and signed in pencil by the artist.
This etching, never before on the market, comes from a private collection and is beautified by an impressive original frame in ebonized wood, in almost perfect condition.
The artwork is also protected by glass
Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts.
Umberto Mastroianni (September 21, 1910 in Fontana Liri – February 25, 1998 in Marino, Italy), was an Italian abstract sculptor. In 1989, he received the first Praemium Imperiale for sculpture. During World War II, he was in the Italian resistance movement.
He was the uncle of the actor Marcello Mastroianni and the film editor Ruggero Mastroianni. The Museo Civico Umberto Mastroianni was established in his honour.
The son of Vincenzo Mastroianni and his second wife Luigia Maria Vincenza Conte, Umberto was an uncle of the actor Marcello Mastroianni: in fact, his father Vincenzo had had a son named Ottone from his first wife, Concetta Conte, sister of his second wife, who was Marcello's father.
Umberto arrived in Rome as a 14-year-old in 1924, where he attended drawing courses at the Accademia di San Marcello at the same time as his uncle Domenico's studio.
He moved two years later, in 1926, to Turin, where he honed his ‘sculpting craft’ in the atelier of sculptor Michele Guerrisi.
His study of ancient sculpture is documented by a first phase of refined bas-reliefs: the sculpture Danae (1926), the Deposition of Christ (1926/27), the Madonna of Peace, the Gothic Madonna (1938).
The young Umberto modelled portraits of archaic taste, in terracotta, which were later transferred to bronze castings: myth and religious subjects were Umberto Mastroianni's stylistic hallmark in the pre-war period, alongside stylistic exercises with little boy heads and his favourite subject being masks of young women, with light and persuasive features.
In 1930 came the first official recognition, the Tourism Prize, offered by the Ministry of Education and, shortly afterwards, the first exhibitions at national and European level.
His first solo exhibition in 1931 at the ‘Galleria Genova’ in Genoa.
From 1933 onwards, he regularly exhibited at national trade union exhibitions and was invited to all the Quadriennali in Rome, the Promotrici in Turin and the Biennali in Venice. In 1935 he took part in the Quadriennale in Rome for the first time, the following year in the Venice Biennale.
Called up to the war, he then took part in the Resistance in the formations in the Canavese area with such commitment that he reflected this in his later works, loading them with the instances that arose from that concrete struggle in the name of freedom, to arrive at the formulation of the ‘poetics of the Resistance’, which was recognised by the critic Giulio Carlo Argan.
His pictorial works on poor materials also date back to the early 1940s: he is the first Italian abstract sculptor, the leader of the 20th century revolution and an artist of absolute international importance.
These are dynamic abstract-geometric forms that acquire depth in terracotta, plaster, cardboard and rough sacks (jute), coloured and scraped. After the war and the resistance, Mastroianni's poetics decisively took up the echoes of the plastic dynamism of Boccioni's ascendancy, revisiting and broadening its contents and cultural references.
Some of his early post-war works in worn-out jute (works of very small dimensions, almost as if they were relics of ancient civilisations, later found) are preserved in the Galleria d'arte moderna in Rome, the Tate Gallery in London, and the Salomon Guggenheim Museum in New York. In fact, his research, starting from direct references to the Futurist season, to Brancusi's Cubist season, to John Arp's and Henry Moore's plastics, hinges on the study and rendering of dynamic values, understood and conferred in the structures understood as a clot of lines of force, the generative nucleus of an explosion of gestures blocked by the weight of matter, trapped in matter. The subsequent evolution is the landing to the Informal season, (1950-1961) a completely autonomous phase, another act of his extraordinary creative personality.
- Creator:Umberto Mastroianni (Artist)
- Dimensions:Height: 23.63 in (60 cm)Width: 31.5 in (80 cm)Depth: 0.79 in (2 cm)
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1965 ca.
- Condition:Wear consistent with age and use. Minor fading.
- Seller Location:Roma, IT
- Reference Number:1stDibs: LU4827237724612
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