{"product_id":"donna-vincenzo-irolli","title":"WOMAN - VINCENZO IROLLI","description":"He approached painting at the age of seventeen when he enrolled at the \u003ca title=\"Academy of Fine Arts of Naples\" href=\"https:\/\/it.wikipedia.org\/wiki\/Accademia_di_belle_arti_di_Napoli\"\u003eAcademy of Fine Arts in Naples\u003c\/a\u003e , where his teachers were \u003ca title=\"Gioacchino Toma\" href=\"https:\/\/it.wikipedia.org\/wiki\/Gioacchino_Toma\"\u003eGioacchino Toma\u003c\/a\u003e and \u003ca title=\"Federico Maldarelli\" href=\"https:\/\/it.wikipedia.org\/wiki\/Federico_Maldarelli\"\u003eFederico Maldarelli\u003c\/a\u003e . In that same year (1877) his artistic curiosity was piqued by the work \u003ci\u003eCorpus Domini\u003c\/i\u003e by \u003ca title=\"Francesco Paolo Michetti\" href=\"https:\/\/it.wikipedia.org\/wiki\/Francesco_Paolo_Michetti\"\u003eFrancesco Paolo Michetti\u003c\/a\u003e exhibited at the National Exhibition in Naples.\n\n He spent his youth in his father's house in \u003ca title=\"Calvizzano\" href=\"https:\/\/it.wikipedia.org\/wiki\/Calvizzano\"\u003eCalvizzano\u003c\/a\u003e , often going to Naples to visit the art dealer Ragozzino, who took care of the distribution of his works.\n\r \nIn 1878, with his \u003ci\u003ePortrait of the Painter Izzo,\u003c\/i\u003e he attracted the attention of \u003ca title=\"Domenico Morelli (painter)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Domenico_Morelli_(pittore)\"\u003eDomenico Morelli\u003c\/a\u003e for his use of a strong palette, and in 1879, he exhibited for the first time at the Promotrice in Naples with his work \u003ci\u003eFelice Rimembranza;\u003c\/i\u003e that same year, he won first prize at the 15th Salvator Rosa Promotrice Exhibition, an event that brought him to the attention of the general public and brought him considerable artistic and commercial success.\n\n From 1880 onwards, free from the \u003ca title=\"Academy of Fine Arts of Naples\" href=\"https:\/\/it.wikipedia.org\/wiki\/Accademia_di_belle_arti_di_Napoli\"\u003eAcademy\u003c\/a\u003e , he began his long and uninterrupted artistic career.\n\r \nAt the Neapolitan Promotrice of 1886 he once again aroused \u003ca title=\"Domenico Morelli (painter)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Domenico_Morelli_(pittore)\"\u003eMorelli\u003c\/a\u003e 's admiration for his portraits of Carmine Franchi and the lawyer Monaci. He was often present at the exhibitions of the Neapolitan Promotrice Society: in 1881 with \u003ci\u003eUna testa\u003c\/i\u003e , in 1883 with \u003ci\u003eStudio dal vero\u003c\/i\u003e , in 1885 with \u003ci\u003ePer l'onomastico dello zio\u003c\/i\u003e , \u003ci\u003eImpressione del contrabassista Franchi\u003c\/i\u003e and \u003ci\u003eSi diventa così\u003c\/i\u003e , in 1891 with \u003ci\u003ePrimavera\u003c\/i\u003e , in 1892 with \u003ci\u003eMezza figura\u003c\/i\u003e .\n\n In 1887 he participated in the National Artistic Exhibition of Venice with the works \u003ci\u003eDal vero\u003c\/i\u003e , \u003ci\u003eChiaroscuro\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e . Later, still in Venice, he exhibited at the \u003ca title=\"Venice Biennale\" href=\"https:\/\/it.wikipedia.org\/wiki\/Biennale_di_Venezia\"\u003eXIII Biennale\u003c\/a\u003e (1922) the works \u003ci\u003ePesci\u003c\/i\u003e , \u003ci\u003eL'inascoltato\u003c\/i\u003e , \u003ci\u003eL'invito\u003c\/i\u003e , \u003ci\u003eLa trapunta\u003c\/i\u003e .\n\r \nIn the years 1889-1890 he participated with other artists \u003ca title=\"Luca Postiglione\" href=\"https:\/\/it.wikipedia.org\/wiki\/Luca_Postiglione\"\u003eLuca Postiglione\u003c\/a\u003e , \u003ca title=\"Peter Scoppetta\" href=\"https:\/\/it.wikipedia.org\/wiki\/Pietro_Scoppetta\"\u003ePietro Scoppetta\u003c\/a\u003e , \u003ca title=\"Vincenzo Volpe (painter)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Vincenzo_Volpe_(pittore)\"\u003eVincenzo Volpe\u003c\/a\u003e , \u003ca title=\"Edward Matania\" href=\"https:\/\/it.wikipedia.org\/wiki\/Edoardo_Matania\"\u003eEdoardo Matania\u003c\/a\u003e , \u003ca title=\"Attilio Pratella\" href=\"https:\/\/it.wikipedia.org\/wiki\/Attilio_Pratella\"\u003eAttilio Pratella\u003c\/a\u003e , Giuseppe Alberto Cocco, \u003ca title=\"Joseph Casciaro\" href=\"https:\/\/it.wikipedia.org\/wiki\/Giuseppe_Casciaro\"\u003eGiuseppe Casciaro\u003c\/a\u003e , \u003ca title=\"Vincenzo Caprile\" href=\"https:\/\/it.wikipedia.org\/wiki\/Vincenzo_Caprile\"\u003eVincenzo Caprile\u003c\/a\u003e , \u003ca title=\"Gaetano Esposito\" href=\"https:\/\/it.wikipedia.org\/wiki\/Gaetano_Esposito\"\u003eGaetano Esposito\u003c\/a\u003e , \u003ca title=\"Vincenzo Migliaro\" href=\"https:\/\/it.wikipedia.org\/wiki\/Vincenzo_Migliaro\"\u003eVincenzo Migliaro\u003c\/a\u003e and others in the decoration of the interior of the \u003ca title=\"Gambrinus Coffee\" href=\"https:\/\/it.wikipedia.org\/wiki\/Caff%C3%A8_Gambrinus\"\u003eGambrinus Brewery\u003c\/a\u003e in Naples. The relationship between Irolli and these artists grew even closer due to their shared tendency towards an avowedly decorative art. Irolli executed for Gambrinus the \u003ci\u003ePiedigrotta\u003c\/i\u003e panel with a girl dressed as Venus and a Cupid (in the guise of a Neapolitan street urchin) who, instead of playing the\u003ca title=\"Lyre (musical instrument)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Lira_(strumento_musicale)\"\u003elyre\u003c\/a\u003e , is trying his hand at a \u003ca title=\"Putipù\" href=\"https:\/\/it.wikipedia.org\/wiki\/Putip%C3%B9\"\u003eputipù\u003c\/a\u003e .\r \n\nHe exhibited in \u003ca title=\"Munich\" href=\"https:\/\/it.wikipedia.org\/wiki\/Monaco_di_Baviera\"\u003eMunich\u003c\/a\u003e in 1890, in \u003ca title=\"Genoa\" href=\"https:\/\/it.wikipedia.org\/wiki\/Genova\"\u003eGenoa\u003c\/a\u003e and \u003ca title=\"Berlin\" href=\"https:\/\/it.wikipedia.org\/wiki\/Berlino\"\u003eBerlin\u003c\/a\u003e in 1892, and in \u003ca title=\"Rome\" href=\"https:\/\/it.wikipedia.org\/wiki\/Roma\"\u003eRome\u003c\/a\u003e in 1893. In 1894 in \u003ca title=\"Milan\" href=\"https:\/\/it.wikipedia.org\/wiki\/Milano\"\u003eMilan\u003c\/a\u003e he presented \u003ci\u003eLe prime mammole\u003c\/i\u003e and \u003ci\u003eCavalleria Rusticana;\u003c\/i\u003e again in Berlin he presented the canvas \u003ci\u003eIl Natale a Napoli\u003c\/i\u003e (which was sold for the extraordinary sum of twenty-three thousand lire and was illustrated in \u003ca class=\"new\" title=\"Modern Kunst (the page does not exist)\" href=\"https:\/\/it.wikipedia.org\/w\/index.php?title=Modern_Kunst\u0026amp;action=edit\u0026amp;redlink=1\"\u003eModern Kunst\u003c\/a\u003e ).\n\r \nIn \u003ca title=\"Paris\" href=\"https:\/\/it.wikipedia.org\/wiki\/Parigi\"\u003eParis\u003c\/a\u003e , where he had already presented the works \u003ci\u003eMaddalena moderna\u003c\/i\u003e , \u003ci\u003eDolore\u003c\/i\u003e e \u003ci\u003eConsolazione\u003c\/i\u003e in 1890, he was called to exhibit at the \u003ca title=\"Salon (exhibition)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Salon_(mostra)\"\u003eSalon\u003c\/a\u003e in 1907, at the \u003ca class=\"mw-redirect\" title=\"Salon d’Automne\" href=\"https:\/\/it.wikipedia.org\/wiki\/Salon_d%E2%80%99Automne\"\u003eSalon d'Automne\u003c\/a\u003e in 1909 (where the work \u003ci\u003eSpannocchitrici\u003c\/i\u003e was purchased by the \u003ca title=\"Paris\" href=\"https:\/\/it.wikipedia.org\/wiki\/Parigi\"\u003eMunicipality\u003c\/a\u003e for the Municipal Museum of the Champs-Élysées), again in 1909 at the Salon for the Société Nationale des Beaux-Arts (XIX exhibition) with \u003ci\u003eDonna con Polli\u003c\/i\u003e and \u003ci\u003eTenerezza\u003c\/i\u003e .\n\r \nHis success, exceptional abroad, was slow to establish itself in Italy, where he clashed with the \u003ca title=\"Twentieth century (artistic movement)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Novecento_(movimento_artistico)\"\u003eNovecentisti\u003c\/a\u003e . His traditionalist approach displeased him with the critics of the time, who were more interested in the avant-garde, but Irolli never made any effort to adapt his painting to the times. Indeed, he kept in his studio a painting depicting a painter intent on finishing an ugly Cubist painting, all the rage at the time, demonstrating a gentle irony towards new trends. While \u003ca title=\"Le Figaro\" href=\"https:\/\/it.wikipedia.org\/wiki\/Le_Figaro\"\u003eLe Figaro\u003c\/a\u003e in 1908 used words like \"extremely agile\" and \"seductive\" for Irolli, Italian intellectuals (and Neapolitans in particular) considered him an artist sold out to the easy market and the patronage of the uneducated bourgeoisie. While in Paris, in the years 1910-1915, he was defined as the painter of the sun and considered excellent by Léon Talboum at the Alderéte Gallery, in Italy, in the same period, he was excluded from the \u003ca title=\"Venice Biennale\" href=\"https:\/\/it.wikipedia.org\/wiki\/Biennale_di_Venezia\"\u003eVenice Biennale\u003c\/a\u003e and, in 1929, subjected to harsh criticism by \u003ca title=\"Ardengo Soffici\" href=\"https:\/\/it.wikipedia.org\/wiki\/Ardengo_Soffici\"\u003eArdengo Soffici\u003c\/a\u003e .\r \n\nIn 1933 Irolli organized a solo exhibition in \u003ca title=\"Bari\" href=\"https:\/\/it.wikipedia.org\/wiki\/Bari\"\u003eBari\u003c\/a\u003e where his works were snapped up by collectors. In October 1936, at the Sacred Art Exhibition in Naples, he exhibited ten works with sacred subjects: \u003ci\u003eMiraculous Draught of Fishes\u003c\/i\u003e , \u003ci\u003eThe Washing of the Feet\u003c\/i\u003e , \u003ci\u003eThe Healing of the Man Born Blind\u003c\/i\u003e , \u003ci\u003eThe Deposition\u003c\/i\u003e , \u003ci\u003eCommunion\u003c\/i\u003e , \u003ci\u003eChrist at the Tomb of Lazarus\u003c\/i\u003e , \u003ci\u003eThe Virgin in Adoration\u003c\/i\u003e , \u003ci\u003eThe Madonna of Aviation\u003c\/i\u003e , \u003ci\u003eThe Altar Boy in Prayer\u003c\/i\u003e , \u003ci\u003eThe Feast of the Redeemer\u003c\/i\u003e , \u003ci\u003eand The Feast of the Man Born Blind\u003c\/i\u003e .\n\n Alongside religious themes, which are well represented in the Granturco collection in Naples, Irolli continued to record scenes of everyday life, portraying children and women in mischievous poses, for which he used his goddaughter Sisina as a model.\n\r \nVincenzo Irolli, besides being a great artist who left his mark on Neapolitan painting in Italy and abroad, is also remembered for his high intellectual level; he was a friend and frequenter of important cultural figures, including \u003ca title=\"Ferdinand Russo\" href=\"https:\/\/it.wikipedia.org\/wiki\/Ferdinando_Russo\"\u003eFerdinando Russo\u003c\/a\u003e and \u003ca title=\"Salvatore Di Giacomo\" href=\"https:\/\/it.wikipedia.org\/wiki\/Salvatore_Di_Giacomo\"\u003eSalvatore Di Giacomo\u003c\/a\u003e .\n\n He was a member of the Polytechnic Artistic Circle of Naples.\n\r \nHe died in his home in \u003ca title=\"Capodimonte (Naples)\" href=\"https:\/\/it.wikipedia.org\/wiki\/Capodimonte_(Napoli)\"\u003eCapodimonte\u003c\/a\u003e , Naples, on Via Cagnazzi (now Via Vincenzo Irolli), at the end of 1949 at the age of eighty-nine. A few days before his death, art critic Paolo Ricci harshly attacked Irolli's painting, calling it \"rich in sentimentality, pious tenderness, affectation, and demagogic moralism, all in a mercilessly bright and crude, approximate palette...\n\u003ch2\u003e\u003c\/h2\u003e","brand":"CORDONI CARLO 4000","offers":[{"title":"Default Title","offer_id":56218759037314,"sku":"CORCA002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/cordoni-irolli.jpg?v=1768476517","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/donna-vincenzo-irolli","provider":"Venderequadri","version":"1.0","type":"link"}