{"product_id":"pietro-annigoni-senza-titolo-8","title":"Pietro Annigoni - Untitled","description":"\u003cstrong\u003ePietro Annigoni\u003c\/strong\u003e , one of the most famous Italian painters of the 20th century, was born in Milan on 7 June 1910, where he attended the \"G. Parini\" gymnasium and spent many hours at the Ambrosiana Library studying \u003ca title=\"Biography and works of Leonardo da Vinci\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_italiani\/leonardo_da_vinci.htm\" target=\"_self\"\u003eLeonardo\u003c\/a\u003e 's drawings. In 1925, the family moved to Florence, where his father, an engineer, was given the task of installing the city's automatic telephone network, and here he obtained his classical high school diploma at the Istituto degli Scolopi. When it was time to return to Milan, in 1928, Pietro Annigoni, who had already shown exceptional aptitude for drawing and attended the \u003cstrong\u003eScuola Libera del Nudo\u003c\/strong\u003e , obtained permission from his parents to remain in Florence to attend the Academy of Fine Arts. This was the most important period in his formation as a man and as an artist. \nDriven by a strong thirst for knowledge, Annigoni would become a man of vast culture, as well as an artist of genius. \nHe formed lasting friendships with promising young artists from the worlds of literature and art, and in the studio of the sculptor Mario Parri, he met Anna Maggini, then a student at the Conservatory, whom he married in 1937. In 1930, the young Pietro Annigoni exhibited for the first time in Florence in a group show with other painters, but two years later he presented his first solo exhibition at Palazzo Ferroni in the Bellini gallery to great success, winning the \"Trentacoste\" prize. He exhibited in Milan to exceptional public and critical acclaim in 1936, while cultivating a true passion for travel, he visited many European countries, including Germany, where he was particularly impressed by Northern Renaissance painting. The series of gouaches, created during his travels and walks in the countryside, shows a rare talent for capturing the most profound aspects of nature, which he was able to interpret with extreme sensitivity. In the 1930s Pietro Annigoni created a large number of drawings and works that reflect his world: portraits of friends, people he met in taverns or on the street, interiors, still lifes; his style reflects an eclectic attitude: there is a bit of \u003ca title=\"Biography and paintings of Salvador Dalí\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_europei\/salvador_dali_1904_1921.htm\" target=\"_self\"\u003eDalí\u003c\/a\u003e in his surreal backgrounds, a bit of \u003ca title=\"Caravaggio's biography and paintings\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_italiani\/michelangelo_merisi_caravaggio.htm\" target=\"_self\"\u003eCaravaggio\u003c\/a\u003e in the chiaroscuro of some works and even Maxfield Parrish in the lightness of his female faces. \nNonconformist, with liberal ideas, opposed to any form of totalitarianism, committed to the affirmation of his vision of painting in relation to society, in 1947 Pietro Annigoni signed, together with \u003ca title=\"Biography and paintings of Gregorio Sciltian\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_italiani\/gregorio_sciltian.htm\" target=\"_self\"\u003eGregorio Sciltian, Xavier\u003c\/a\u003e and \u003ca title=\"Biography and paintings of Antonio Bueno\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_italiani\/antonio_bueno.htm\" target=\"_self\"\u003eAntonio Bueno\u003c\/a\u003e , Alfredo Serri and others, the Manifesto of the \" \u003cstrong\u003eModern Painters of Reality\"\u003c\/strong\u003e . \nWith this declaration, the group places itself in open contrast with the new pictorial currents advocating informal art; His personal style highlights the influence of the \u003ca title=\"Vorrente of the Renaissance\" href=\"https:\/\/www.settemuse.it\/arte\/corrente_rinascimento.htm\" target=\"_self\"\u003eItalian Renaissance\u003c\/a\u003e and \u003cstrong\u003e\u003ca title=\"Artistic movement of Realism\" href=\"https:\/\/www.settemuse.it\/arte\/corrente_realismo.htm\" target=\"_self\"\u003eRealism\u003c\/a\u003e ,\u003c\/strong\u003e in direct contrast to the portraiture styles of \u003cstrong\u003eModernism\u003c\/strong\u003e and \u003cstrong\u003ePostmodernism\u003c\/strong\u003e that were in vogue during his career. Despite the emotional and cultural tensions of those years, it was precisely between 1945 and 1950 that Annigoni created some works that were fundamental to his artistic career. Pietro Annigoni himself said: \"I am convinced that the works of today's avant-garde are the poisoned fruit of a spiritual degradation with all the consequences of a tragic loss of love for life.\" For this reason, in the solitude of his studio, Annigoni followed his own personal style that was never classified as belonging to any group or movement. The opinions of critics were completely divergent: Bernard Berenson, an expert on \u003cstrong\u003eFlorentine Renaissance\u003c\/strong\u003e art, considered Pietro Annigoni not only one of the best painters of his century, but also one of the greatest ever, including the Florentine Renaissance painters themselves. \nEven \u003ca title=\"Biography and paintings of Giorgio De Chirico\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_italiani\/giorgio_de_chirico.htm\" target=\"_self\"\u003eDe Chirico\u003c\/a\u003e had a great respect for him as a painter endowed with great talent, while others, such as \u003ca title=\"Biography and paintings of Carlo Carrà\" href=\"https:\/\/www.settemuse.it\/pittori_scultori_italiani\/carlo_carra.htm\" target=\"_self\"\u003eCarlo Carrà\u003c\/a\u003e , considered his works anachronistic and denied that there was any technical ability in his works. Pietro Annigoni remained ignored by the artistic world for many years: during the fascist era and in the following years, he did not receive any public commission, was never appointed to the Academy of Arts and did not have the opportunity to teach. Detached from the world of official culture, in search of an audience that understood his art, Annigoni, in 1949, participated in an exhibition of the Royal Academy in London, achieving a success that made his name bounce in newspapers all over the world. Annigoni continued to paint, remaining consistent to the end and continuing his solitary battle in defense of the figurative style, which for him, a scholar of Benedetto Croce, coincides with the defense of the integrity of man. In London, Pietro Annigoni exhibited many times: at Wildenstein (1950, 1954), at Agnew (1955), at the Royal Academy of Fine Arts in London (1956), at the Royal Academy of Fine Arts in London (1957), at the Royal Academy of Fine Arts in London (1958), at the Royal Academy of Fine Arts in London (1959), at the Royal Academy of Fine Arts in London (1960), at the Royal Academy of Fine Arts in London (1961), at the Royal Academy of Fine Arts in London (1962), at the Royal Academy of Fine Arts in London (1963), at the Royal Academy of Fine Arts in London (1964), at the Royal Academy of Fine Arts in London (1965), at the Royal Academy of Fine Arts in London (1966), at the Royal Academy of Fine Arts in London (1967), at the Royal Academy of Fine Arts in London (1968), at the Royal Academy of Fine Arts in London (1969 ... (1952-1956), the Federation of British Artists (1961), the Upper Grosvenor Galleries (1966), as well as constant participation in the Royal Academy exhibitions, becoming the most sought-after portraitist. Pietro Annigoni's career, portraitist, reached its peak in 1955 when he painted his first portrait of Queen Elizabeth II. \nIn the years to come, Annigoni was practically the painter of the royal house and of the English aristocracy, and he organised important and highly followed exhibitions in Paris and New York as well.\n A passion for travel is a constant in the life of the master, who travels from one end of the planet to the other—India, South Africa, Iran, Mexico, South America—in search of different emotions, cultures, and landscapes, which he captures in sketches and drawings. His marriage, from which he had two children, Benedetto and Maria Ricciarda, ended in consensual separation in 1954. In 1966, during a voyage on the ship Raffaello, Pietro Annigoni met Rossella Segreto, and a great love blossomed between them, leading them to marry in 1977.\n The major works executed between 1966 and 1988, which express Pietro Annigoni's faith in the centrality and transcendence of man, are exhibited in the most important museums in the world. \nA charismatic artist born in a century of great revolutions and protests, he employed his unique technical skills to create gigantic works and tiny engravings, portraits, landscapes, and large-scale allegorical compositions that have elicited mixed reactions of admiration and rejection. Now a world-renowned artist (Time magazine has featured him on seven covers), Pietro Annigoni has gathered around himself and his \"workshop\" a true Renaissance-style school, completely free of charge, freely attended by artists as diverse as Luciano Guarnieri, Marcello Tommasi, Romano Stefanelli, Nelso H. White, Fernando Berardini, Timothy Widborne, Silvestro Pistolesi, Dawn Cookso, Antonio Ciccone, Ben Long, Douglas Anderson, Luigi Falai, and many others.","brand":"Gaspari Arcangelo","offers":[{"title":"Default Title","offer_id":56215696212354,"sku":"GASAR003","price":500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/ANNIGONI-Opera-nr-11.jpg?v=1768428329","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/pietro-annigoni-senza-titolo-8","provider":"Venderequadri","version":"1.0","type":"link"}