Modern Painting by Lorenzio Viani Man's Face Mixed Technique '900 - Man's Face

Mountain Landscape

Oil painting on canvas. Signed lower left. The Milanese painter Gino Federici specialized in Alpine views, as in this view, where in the foreground a flock of sheep drinks water from a stream, in the wide valley, under steep peaks. The painting is presented in a contemporary frame. It shows signs of previous restoration.

Three Drinkers and an Angel 1942

Mixed media on board. Signed lower right. On the back further signature, title and date. Beppe Porcheddu, an important Italian illustrator and ceramist, was also a painter. In his evolutionary artistic path "it would seem that the artist has poured "the illustrator" into the painter and vice versa "the painter has prevailed in the illustration". From his first production, alongside his aptitude for the grotesque, Porcheddu showed a natural inclination for what was defined as a "perfect trio of symbols of a world (the medieval one) that expressed itself through metaphors like no other previous civilization" . In this panel, that tendency towards the grotesque is well expressed in the figures of the three drinkers, presented with crude features, clear lines and marked angles, while the figure of the angel appears evanescent, blurred, framed in the single light that comes from the open door.

Oil on Hardboard. On the reverse there is an inscription in pencil with the date "29 June 1931" and the signature Amos Campaioli. The large country landscape, with leafy trees and a pond, sees in the foreground a lady on horseback flanked by a man with his dogs. The painting is presented in a wooden frame, covered on the front with gilded stucco.

Oil painting on canvas. At the bottom left there is an unidentified signature. Large composition of variegated flowers, placed outdoors on bare, deserted ground. The colors of the flowers are applied with a certain material consistency, making them stand out and emerge from the almost monochromatic background. The painting has some dirt splashes in the lower left corner. It is presented in a contemporary frame.

Figure in Rest 1969

Pen on paper. Signed lower right. Accompanied by photo authentication from the Mario Tozzi Archive. In Maestro Tozzi's extensive production there are many drawings, such as this one presented here, made with different techniques (ink, pastel, pencil, sanguine), dedicated to the human figure: in his dry and stylized style, Mario Tozzi outlines stylized, refined figurines in their silent and discreet geometry, favored by the absence of color, which brings out the forms on the white paper. Even in his pictorial production, Mario Tozzi's favorite subjects are, classically, figures and still lifes, but both figures and death are a set of solid geometric elements, the sphere, the cylinder, the cone, etc. The bodies are elementary, essential in the lines and details, powerful, statuesque, composed of just modeled solids, while the still lifes are a celebration of Euclidean geometry such as the jugs, bowls, flasks which are paradigms of volume and geometric rigor . Mario Tozzi's compositions are influenced by Cubism for certain cuts, by Metaphysics for certain architectural insertions and by Abstractism for the insertion of geometric figures. The work is presented in a frame.

Mixed media on canvas. The large scene, painted in the unique reddish-pink range, features two large figures on the right, while the entire left side is occupied by a desert landscape, with the waves of the dunes fading into the distance. The two figures depict a seated horseman, wearing a turban and Saracen dress, being fed by a maiden in Western dress, who is handing him a tray laden with food, while on the shelf below is a basin of water, ears of corn and various fruits. This could be one of the many representations of the story of Angelica and Medoro, recounted by Ariosto in Orlando Furioso, which tells of the love between the Christian maiden and the Saracen knave wounded in a clash, who then fled together to Catai, thus triggering Orlando's madness. The work is presented in a frame.

In Brianza

Oil painting on canvas. At the bottom left there is the DB monogram. Title and gallery stamp on the back. The glimpse of the Brianza countryside, still flat, sees a shepherd who lets his cows graze in the meadows immediately outside the village, near the dirt road flanked by light poles; two bare and thin trunks stand vertically, almost parallel, dividing the scene into three shots. The work is presented in a coeval frame.

Sur le Canapé d'Argent pâle 1911

Color lithograph on vellum paper. The title at the bottom left. On the passepartout the name and the wording "original lithographie". It is planche n.10 of the "Amour" series, created in 1899 by the French artist and inspired by the love poems Denis wrote for his future wife, Marthe Meurier. Some replicas of the initial series were made, of which the one on tissue paper dated 1911. Maurice Denis, French painter, was artistically formed in coincidence with the birth of the symbolist movement that strongly influenced him, imposing himself for his simplicity and for his philosophy of a art that was a synthesis between the external world and the artist's spirituality. In his earliest works, the pictorial style was naturalist and neo-impressionist, but over time tended towards a pure decorativism, characterized by areas of flat color and clear outlines. In 1888, at the Julian Academy in Paris, Maurice Denis founded with Paul Sérusier, Pierre Bonnard and Paul Ranson, the group of painters Nabis (Prophets), a group that drew on the works and poetics of Paul Gauguin in their aesthetic ideals. , for the overcoming of Impressionist naturalism through a return to primitive and Japanese art. Of the Nabis meetings, usually held in the editorial office of the magazine "Revue Blanche" or at the Ranson Academy, Denis particularly appreciated the mystical climate, the esoteric jargon and the nickname that each painter received from the group: Denis was called "the Nabi by the nice pictures". As "Nabi" Maurice Denis painted intimate, enigmatic pictures and the themes of his painting, of a religious nature or situations of everyday life, were brought into an ideal and unreal dimension, in an atmosphere of warm and serene intimacy, obtained with an extremely delicate feature. A constant in his life was the profession of the Catholic faith, which always had a priority role for him. He received numerous commissions for the decoration of churches and this made him return to the great tradition of mural painting by performing solemn frescoes of monumental structure, inspired by a literary Catholicism. The religious fervor led Maurice Denis to found, in 1919, the Ateliers d'Art Sacré, dedicating a lot of time to prayer, so much so that he became the tertiary of San Domenico, without isolating him from the world, for which he participated in the social life of the time. In addition to his vast production as a painter, Denis was a great draftsman and illustrator. Until his death Maurice Denis continued to paint in a modern interpretation of the great ancient painting, supported by his strong artistic vein, continuously fueled by his travels, many of them in Italy, which led him to come into direct contact with the Pre-Raphaelites and the neoclassicals.

Untitled 1930

Ink on paper. Signature and date below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Le Prophète 1927

Ink on paper. Signature, date and title below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Les Bouches de Naples gemissent de Terreur ou de Plaisir 1969

Ink on paper. Signature, date and title below. Accompanied by authentication on photo from Galleria Giò Marconi in Milan and stamp from private archive. It is the drawing of the young artist who soon became one of the most important exponents of world surrealism, who was a poet and painter, but also a filmmaker, art and film critic, photographer and humorous designer. Born in the north of France, in 1927 he settled in Paris, where he came into contact with a group of young poets and philosophers, with whom he founded the '' Grand Jeu '' movement: play is understood as an art of living. Since 1928 he has collaborated with texts, poems and drawings for the movement's magazine and in the meantime he collaborates as an editor and reporter with various Parisian newspapers.In 1932, having exhausted the experience of the `` Grand Jeu '', he passes to the surrealist movement, collaborating on its publications and participating in its exhibitions. His humor turns towards the unusual and cruelty, more and more derisive of the absurdity of everyday life, of the tragic side of common existence, to which the spirit and the unconscious rebel, trying to access the unobservable. Knows Salvador Dalí. In 1939 he also began his activity as a filmmaker. In 1941 his first personal exhibition took place in Paris: the first buyer was Pablo Picasso. Participate in all surrealist exhibitions, including the 1947 international one in Paris. In 1951, for reasons relating to the internal discipline of the group, he abandoned the surrealist movement with others, while continuing to practice its poetics. In 1955 he also became passionate about photography. Since 1968 he has devoted himself almost exclusively to painting, abandoning the activity of humorous draftsman. In the same year he settled permanently in Milan: in Italy he exhibited in various personal exhibitions, those in Milan at the Galleria Marconi. The work presented here, an early drawing, comes from an important Milanese private collection. It is presented in a frame.

Female portrait 1950

Oil on canvas. Signed and dated (1-5-1950) in the lower left corner. Born in Bologna but artistically trained at the Brera Academy in Milan, in the early 1900s he studied in Paris, where he can admire the painting of the great masters of the past and follow with great interest the new pictorial trends that advance in the climate of general renewal brought by the new century. In fact, influences of themes such as symbolism and divisionism can be found in his paintings of the first decades of the twentieth century, but Mascarini chooses not to let himself go by the new currents that acclaim the deconstruction of form, remaining in the enclosure of his studio to paint the affections and gazes. of everyday life closest to him. His figurative language draws on the Lombard naturalism of the late nineteenth century, his painting is framed in a sober and balanced drawing. Landscape and portrait painter, he proposes delicate and placid scenarios, such as the glaciers he paints as he climbs in the silence of the high mountains that he loves very much, and portraits with faces harmoniously framed by soft brushstrokes, which express intimate feelings. The portrait of a lady presented here proposes a figure who, although elegant in her evening outfit, expresses serenity, calmness, intimacy rather than worldliness in her face and pose. The work is presented in a contemporary frame.