Gino Parin - Untitled (Flowers)

Flowers as an independent subject began to appear in still lifes, a genre that emerged in the early 17th century. Subsequently, painters, especially the Impressionists, increasingly focused on the floral world, as an extraordinary opportunity to capture vibrant colors and light. Thus, flowers were depicted not only in vases, but also immersed in their natural landscape. While initially a pretext for painters to attempt a photographic reproduction of reality, with contemporary art, the subject of flowers also became a way of interpreting reality.

Gino Parin's pictorial language relies primarily on the expressive qualities of color. The drawing structure and perspective grid are completely dismantled to make way for the power of the brushstrokes. However, Parin remains firmly anchored to phenomenal reality, because even with his colorful, extremely dense brushstrokes, he manages to delineate the essence of his subjects, imbuing them with expressive vigor. In this vase of flowers, the effect of light is crucial. Indeed, through the use of color, the artist manages to characterize the subject with vivid reflections, both on the petals and on the glass surface of the vase. The use of the red of the petals is particularly striking, introducing a note of intense lyricism.

Gino Parin was born in Trieste in 1876. His real name was Federico Gino Pollack. He began his artistic education in the studio of the Triestine painter Eugenio Scomparini and then continued in that of the Venetian Girolamo Navarra. At 19, he went to Munich to attend the Academy, where he studied with Karl Raupp and became acquainted with the paintings of the Pre-Raphaelites, Lenbach, von Marées, and von Stuck. From 1910, he began participating in group exhibitions at the Circolo Artistico di Trieste. He settled there permanently at the outbreak of the First World War. He participated in the Biennials of 1921, 1924, 1928, and 1932. In 1923, he received the gold medal at the Turin Quadriennale. During this period, his style, originally based on German academicism, evolved towards a personal reworking of Art Nouveau taste. His work, which focused primarily on female portraits and interiors, earned him the nickname "the painter of beautiful women." Deported by the Germans in 1944, he died in the Bergen-Belsen concentration camp.

The transaction takes place with maximum security for both the seller and the buyer. We take care of the conformity (provenance, authenticity, state of conservation) of the work and handle the shipping.
Returns are possible no later than 14 days after receiving the order.