CHILLI PEPPERS - RENATO GUTTUSO
CHILLI PEPPERS - RENATO GUTTUSO
SKU:MSMA001
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Characteristics
Characteristics
Certificato: Yes
Stato di conservazione: Good
Tiratura: PDA
Formato: Medium (40-100cm)
Orientamento: Vertical
Supporto: Other
Soggetto: Landscape with figures
Description of the work
Description of the work
Aldo Renato Guttuso ( Bagheria , 26 December 1911 – Rome , 18 January 1987 ) was an Italian painter and politician , improperly indicated as an exponent of socialist realism , protagonist of the Italian neorealist painting which was expressed in the artists of the New Arts Front [1] , senator from 1976 to 1983. Son of Gioacchino ( 1865 - 1940 ), surveyor and amateur watercolourist , and Giuseppina d'Amico ( 1874 - 1945 ) – who preferred to report his birth in Palermo on 2 January 1912 due to disagreements with the municipal administration of Bagheria due to the liberal ideas of the couple [2] – little Renato showed early on his predisposition for painting. Influenced by his father's hobby and by frequenting the studio of the painter Domenico Quattrociocchi and the workshop of the cart painter Emilio Murdolo , the young Renato began dating and signing his paintings at the age of thirteen. They were mostly copies (of 19th-century Sicilian landscape painters, but also French painters like Millet and contemporary artists like Carrà ), but there were also original portraits. During his adolescence, he also began frequenting the studio of the Futurist painter Pippo Rizzo and the artistic circles of Palermo. In 1928 , at the age of seventeen, he participated in his first group exhibition in Palermo. His art, linked to expressionism , was also characterised by a strong social commitment [3] , which also led him to political experience as a senator of the Italian Communist Party for two legislatures, during the secretariat of Enrico Berlinguer .
Biography
Renato Guttuso was born on Boxing Day, 1911, in the Sicilian town of Bagheria. His father, the knight Gioacchino Guttuso, was a land surveyor, and several portraits of him exist in the collection donated to the Municipality of Bagheria. The first, dating back to 1925, demonstrates the artist's precocious genius. Others, featuring rulers and set squares, emphasize his profession and his admiration for the upright man, passionate about literature and the arts, and possessing a cult of freedom passed down to him from his father, Ciro, who had fought with Garibaldi. His middle-class adolescence was filled with inspiration for the future painter.
[ edit | edit wikitext ]
In 1935 , in Milan for military service, Guttuso met Manzù, Birolli, Fontana, and Antonio Banfi . During that stay, however, he did not fail to return to Bagheria in the summer, where he developed his "social" art, with an increasingly overt moral and political commitment, which was revealed in paintings such as the aforementioned Ficilazione in Campagna (Fucilation in the Countryside), between 1937 and 1938, and Fuga dall'Etna (Escape from Etna) in two versions, before devoting himself a few years later to works representing the maximum expression of Guttuso's social realism such as La Spiaggia (The Beach) (1955) and Carretti a Bagheria (Carts in Bagheria ) (1956). Rejecting all academic canons, with figures free in space or the search for a pure sense of colour, Guttuso joined the "Corrente" artistic movement. In 1937 in Naples , Guttuso ranked second for art criticism at the Littoriali della cultura e dell'arte . In the 1938 edition in Palermo, he necessarily presented himself in the uniform of the GUF and competed with the painting Fucilazione in campagna , dedicated to the poet García Lorca , shot by the Francoists [4] . In 1937 he moved permanently to Rome, with a studio in Via Pompeo Magno where, due to his exuberant lifestyle, his friend Mazzacurati jokingly nicknamed him "Sfrenato Guttuso". He frequented the Roman artistic scene with an anti- 20th century tendency: Sebastiano Carta , Alberto Ziveri , Antonietta Raphaël , Mario Mafai ,Marino Mazzacurati , Pericle Fazzini , Corrado Cagli , Toti Scialoja , Filiberto Sbardella , and also kept in touch with the Milanese group of Ernesto Treccani , Giacomo Manzù , Aligi Sassu . He struck up a friendship with Antonello Trombadori , a young art critic, son of the painter Francesco Trombadori , and began an intellectual and political partnership that would last his entire life. In 1940 he joined the clandestine Italian Communist Party (he later designed the symbol of the reborn Italian Communist Party , used until its dissolution in 1991, and collaborated with the magazine Il Calendario del Popolo ); he left Rome for political reasons, taking refuge in Genoa with friends. He later returned to Rome in hiding. The painting that gave him fame, amidst a thousand controversies even from the clergy and the fascist party, since under the sacred subject he denounced the horrors of war, was a painting depicting The Crucifixion (1940) which allowed him to win the second prize at the fourth edition of the Bergamo Prize , in 1942. Guttuso wrote of it in his diary as « [...] the symbol of all those who suffer outrage, prison, torture for their ideas». The artist never stopped working in difficult years such as those of the war and alternated, especially in his still lifes, objects from the humble houses of his land, with glimpses of landscapes of the Gulf of Palermo and a collection of drawings entitled Massacri , which circulated clandestinely, given that they portrayed Nazi repression, such as the one dedicated to the massacre of the Fosse Ardeatine , an oil on canvas of which from 1944 was exhibited at the Galleria Basile in Palermo in what was the last solo exhibition dedicated to the artist.- The figures of ten workers
- they emerge white on the white bricks
- noon is summer .
- But the humiliated flesh
- they cast a shadow: and the disordered order
- of the whites is faithfully followed
- from the blacks. Midday is peaceful .

The political experience

The last years and death
In 1977 Guttuso donated, by public deed, to the Study Centre and Archive of Communication in Parma his work The Departure of the Steamer of Naples (1966), preserved in the Fund dedicated to him, public and entirely consultable [14] . To this first work, in 1982 , Natura morta con tavola ( 1947 ) was added to the CSAC Fund. In 1980 he dedicated a watercolour to the Bologna massacre , entitled The Sleep of Reason Generates Monsters , like the etching of the same name by Goya . In 1982 he painted the 1,000 lire stamp, depicting the FIFA Cup lifted by Dino Zoff during the award ceremony of the 1982 World Cup in Spain , which is highly prized by collectors [ unsourced ] . In 1985 I finished the fresco depicting "Colapesce and the sirens" on the ceiling of the Vittorio Emanuele II Theatre in Messina .In mass culture [ edit | edit wikitext ]

- He is quoted in the song "Canzone del padre" from the album Storia di un impiegato ( 1973 ) by Fabrizio De André : «And my alibis catch fire, / The Guttuso still to be authenticated» , a probable reference to the painting I funerali di Togliatti from the previous year. [19]
- It is mentioned in the song AD 4000 from the album Ingresso libero by Rino Gaetano and in the song Jet-set from the album E io ci sto by the same artist.
- In 2009 he was played by Corrado Fortuna in the film Baarìa by Giuseppe Tornatore .
- He appears, in the role of a street artist, in "FF.SS." - That is: "...what did you bring me to do above Posillipo if you don't love me anymore?" , a 1983 film directed by Renzo Arbore .
- In his painting entitled The Beach , exhibited at the National Gallery of Parma , he depicts Pablo Picasso in profile with a tanned body and a Hawaiian costume, rubbing a green towel over himself, with the movements of a bullfighter, as if he had just arrived on the beach after a long swim in the sea. [20]
- The artistic duo Orticanoodles (composed of Wally and Alita) created the largest portrait in the world of Renato Guttuso. It was created in July 2013 in Giardini-Naxos in Sicily during the Emergence Street Festival event. It is a mural created using the stencil technique. [21]
Honors
Notes
- ^ Sapere.it under "Neorealism"
- ^ Guttuso, Renato , biography and quotes
- ^ Painter of Principle . The Financial Times (London, England), Saturday, May 18, 1996; pg. XVI; Edition 32,987.
- ^ Laura Dolfi, The García Lorca Case: From Spain to Italy , Bulzoni, Rome, 2006, p. 92.
- ^ Lazio cultural heritage archive ( DOC ), on ufficignam.beniculturali.it.
- ^ Italian Realist Painting. FROM OUR ART CRITICAL. The Times (London, England), Thursday, Nov 24, 1960; pg. 8; Issue 54937.
- ^ The Individual Course of Renato Guttuso . The Times (London, England), Thursday, May 13, 1965; pg. 6; Issue 56320.
- ^ Contemporary Italian Paintings , su quadriennalediroma.org. URL consulted on 28 February .
- ^ Peintures italiennes d'aujourd'hui , su quadriennalediroma.org. URL consulted on 28 February 2016 .
- ^ Notions of Dada . The Times (London, England), Tuesday, Jul 16, 1968; pg. IV; Issue 57304.
- ^ Images from The Daughters of Lot
- ^ Elections to the Senate of the Republic of 20 June 1976 , on Historical Archive of Elections. URL consulted on 11 December 2009 .
- ^ Elections to the Senate of the Republic of 3 June 1979 , on Historical Archive of Elections. URL consulted on 11 December 2009 .
- ^ http://samha207.unipr.it/samirafe/loadcard.do?id_card=17843&force=1
- ^ Fabio Carapezza, Guttuso's adoptive son and former commissioner of the Teatro Massimo in Palermo, has died , on gds.it, 26 October 2022. URL consulted on 26 October 2022 ( archived on 26 October 2022) .
- ^ “Renato was a staunch atheist and died as such”, this is how Marta Marzotto defined him in the interview, republished on 29 July 2016 and given to Oscar Puntel for the periodical Donna Moderna .
- ^ Domenico Del Rio, But Christ tempted him , in La Repubblica , 20 January 1987
- ^ Marco Giusti , The Great Book of Carosello , Milan, Sperling & Kupfer, 2nd edition, ISBN 88-200-2080-7 , p. 470
- ^ Interpretation of the song
- ^ Taken from the illustration of Guttuso's painting at the National Gallery of Parma
- ^ Cited in this video: https://www.youtube.com/watch?v=Syp4c9nKQIo
Bibliography
- Girace P. , Contemporary artists, Naples, Ed. EDART, 1970, pp. 152, 153, SBN IT\ICCU\NAP\0057927 .
- P. Pacini (ed.), Renato Guttuso. Works from 1945 to 1998 , Firenzelibri, Florence 1983
- Vittorio Sgarbi , Guttuso. Visits to the Art of the Past , Milan, Diarte - Galleria Bergamini, 1985, pp. 29.
- M. Calvesi, D. Favatella Lo Cascio, Renato Guttuso from the Beginnings to Gott mit uns (1924-1944) , Sellerio, Palermo, 1987
- Lea Vergine, The Last Eccentrics", Rizzoli, 1990
- Alessandro Masi, Renato Guttuso: the primacy of painting , preface by Marcello Veneziani , Edimond, 1998.
- Werner Haftmann , Guttuso , Florence, Giunti, 2005, pp. 50.
- Paolo Parlavecchia, Renato Guttuso. A Portrait of the Twentieth Century , UTET, Turin, 2007
- Review of the exhibition "Guttuso. Passion and Reality" (Parma, September 11 - December 8, 2010)
- Elena Lissoni, Renato Guttuso , Artgate online catalogue of the Cariplo Foundation , 2010, CC-BY-SA.
- C. Quattrini, M. Ragozzino, Brera Never Seen Before. Renato Guttuso 1940. The Portrait of Alberto Moravia , Skira, 2011
- E. Dei (edited by), Guttuso and the Friends of Corrente , Pacini publisher, Pisa, 2011
- Maria Antonietta Spadaro, Renato Guttuso , Flaccovio, ebook, 2012
- Renato Guttuso, Writings , edited by M. Carapezza, Bompiani, Milan, 2013
- F. Gualdoni, F. Calarota, Renato Guttuso. Realism and the Relevance of the Image . Exhibition catalog (Aosta, March 27–September 22, 2013)
- Mario Ursino (edited by), Guttuso's Greek Coffee, Rome, Nuova Cultura, 2014, ISBN 978-88-6812-275-1 .
- F. Carapezza Guttuso, V. Crispino, (edited by), Guttuso, the disquiet of a realism , De Luca Editori d'Arte, Rome, 2016
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