{"product_id":"migliorini-senza-titolo","title":"Dino Migliorini - Untitled","description":"\u003cp class=\"p1\"\u003eThis landscape, with its soft colors and quick brushstrokes, is typical of Dino Migliorini's pictorial expression. Indeed, the depiction of landscape has accompanied him throughout his life, but along the way, influenced by the people he meets and the places he visits, he continually reinvents himself. This painting likely harks back to his production from the 1970s or 1980s, when his brushwork becomes more conceptual and intellectual, as he breaks down individual brushstrokes into colored lines that acquire their overall meaning through the skillful juxtaposition of colors. It depicts a country road, likely a glimpse of the Val d'Elsa. With the curved road and the inability to see what lies around the corner, it's as if he's inviting us to take the journey with him, thus allowing us to immerse ourselves in the painting.\u003c\/p\u003e\n\n \u003cp class=\"p1\"\u003eDino Migliori is one of the leading exponents of twentieth-century landscape painting, constantly reinventing himself based on new impulses and connections. A thorough analysis of his career can be found in the posthumous retrospective exhibition \"Dino Migliorini. Bellezza sogno realtà\" (Dino Migliorini. Beauty, Dream, Reality), held in 2011 at the Galleria comunale di arte contemporanea in Arezzo. Curated by Giampaolo Trotta, the exhibition shows how Migliorini was initially still influenced by Verism, later drawing inspiration from Rosai and Carrà. In the second half of the 1940s, partly on the advice of fellow painters, he sought inspiration in early twentieth-century Expressionism. From there, he returned to clearer, more structured forms, drawing on Metaphysical Art and Chiarismo. Only then did he arrive at the period to which the work we are analyzing should belong. In fact, between the 1980s and 1990s, he began to explore \"his\" Valdarno, in an almost Impressionist manner. The compositional rigor of the painting as a whole and its luminosity remain, but the brushstrokes are shortened, quicker and more instinctive, thus interpreting the vibrations of atmospheric light that rests on nature. It is this light that becomes the protagonist of his paintings, and he himself states that \"Luminous painting is not about applying light colors. It is within, in the soul. And this bondage has followed me throughout my life.\" \u003c\/p\u003e\n\n\u003cp class=\"p1\"\u003eAs in many of this artist's works, we see the contrast between an almost geometric composition of the objects described and the post-Impressionist language, with a light and vibrant touch, recording in these gestures not only the luminous and atmospheric vibrations, but also the existential ones.\u003c\/p\u003e\n\n \u003cp class=\"p1\"\u003eDino Migliorini is a Tuscan painter, born in 1907 in San Donato in Collina, in the province of Florence. From a young age, he discovered his calling for painting; coming from a humble family, he was able to pursue his early studies thanks in part to the support of Countess Giulia Corinaldi Padua. At just 17, he decided to move to Florence, where he was hosted by the countess, who also financed his studies. He thus became a student of Garibaldo Cepparelli, who in turn was a student of the important painter and heir to the Macchiaioli movement, Niccolò Cannicci. He subsequently continued to study academic drawing and painting, while simultaneously working as a ceramic decorator and restorer. This brought him into contact with figures such as Baccio Maria Bacci, Ardengo Soffici, and Ottone Rosai. Baccio would become an important influence on him, also introducing him to fresco painting. In 1931, his first exhibition took place at the Lyceum Gallery in Florence. During these years, he also received his first public commissions, executing works for Santa Maria Ricorboli in Florence and San Donato in Collina. In the late 1950s, he moved to Rome. There, he met Maccari, Monachesi, and Fantuzzi and began frequenting De Chirico's studio in Piazza di Spagna. He also experimented with portraiture, painting portraits of Princess Maria Pia of Savoy and Pope John XXIII. He participated in various national and international exhibitions and was acclaimed by the public, while critics described him as a sensitive portraitist and great landscape painter, an interpreter of the 20th-century Florentine tradition. \u003c\/p\u003e\n\n\u003cp class=\"p1\"\u003eAt an advanced age he returned to Tuscany, and died in 2005 in Contea.\u003c\/p\u003e","brand":"Gaggini Chiara","offers":[{"title":"Default Title","offer_id":56218895417730,"sku":"CGAG010","price":1150.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Migliorini_d97f128c-8878-4a4e-9b9d-2ccc0bc221e6.jpg?v=1768477174","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/migliorini-senza-titolo","provider":"Venderequadri","version":"1.0","type":"link"}