Emilio Notte - Untitled

Social themes in art began to gain prominence in the mid-19th century, coinciding with the spread of social questions throughout European societies. The work of painters such as Millet and Daumier, for example, favored subjects related to life in the fields, factory work, or strikes. In Italy, among the first painters to engage deeply with social themes were Pellizza da Volpedo and, in the contemporary era, Renato Guttuso.

This work is part of a series of studies by Emilio Notte on the theme of work, which are extremely interesting for understanding the artist's perception of reality. The human figure, engaged in activity, is analyzed in its complex torsions and anatomical qualities. The investigative tool used by Emilio Notte is that offered by the Cubist and Futurist avant-gardes, in the sense of a geometric and mechanical reconstruction of reality, which allows for a more detailed representation of subjects, enhancing their plastic qualities. However, the very insistence on a rationalist, almost static rendering of volumes indicates Emilio Notte's move beyond the Futurist phase to embrace that more classical "return to order," which will bring him closer to the circle of Margherita Sarfatti.

Emilio Notte (Ceglie Messapica, 1891 – Naples, 1982), a painter, after attending high school and the Institute of Fine Arts in Naples, attended the Academy of Fine Arts in Florence, where he studied under Fattori and De Carolis. He befriended Bino Sanminiatelli, who introduced him to the intellectuals who frequented the Giubbe Rosse (Red Coats) and the Café Paszkowsky; he met Soffici, Carli, Settimelli, Corra, Papini, Malaparte, and Campana, and became friends with Palazzeschi. In 1915, he joined Futurism and in 1917, with Venna, signed the manifesto "Fondamento linea geometrico" (Linear Geometric Foundation), which was published in "L'Italia Futurista." In 1919, he participated in the Great National Futurist Exhibition in Milan, Florence, and Genoa, and exhibited at the Galleria Ballerini, presented by Margherita Sarfatti. Marinetti was present at the inauguration. In 1920, he collaborated on "Roma Futurista" and in 1921, he participated in the major modern art exhibition in Geneva with the Futurist group. From this date on, Notte returned to classical positions, while not shying away from Futurist influences.

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