{"product_id":"renato-guttuso-contadini","title":"Renato Guttuso - Farmers","description":"\u003cstrong\u003eRenato Guttuso\u003c\/strong\u003e was born in Bagheria, Sicily, on 26 December 1911 (but his mother registered him at the registry office on 2 January 1912). \nGuttuso himself wrote of his childhood... \"between my father's watercolours, Domenico Quattrociocchi's studio, and the workshop of the carriage painter Emilio Murdolo, my path took shape when I was six, seven, ten years old...\".\n In 1928 he participated in his first group exhibition in Palermo, but from the age of 13 he had been signing his paintings on wooden panels, using the wood grain as a decorative element.\n From his early paintings, Renato Guttuso, fundamentally veristic and naturalistic, pursued a purely figurative execution of themes anchored to the peasant, rural, popular world: social themes or overtly political subjects.\n While attending high school in Palermo, he spent his free time in the workshop of the futurist Pippo Rizzo, taking advantage of the opportunity to broaden his vision of painting, approaching the Futurist movement and the plasticism of \"Novecento\". \nRenato Guttuso's style broke away from his father's pictorial model to arrive, already by the end of the 1920s, at a brilliant and luminous pictorial form, with harsh and contrasting tones.\n In 1930 he enrolled in law school, which he abandoned after the success he achieved at the 1st Rome Quadrennial.\n In 1933 he wrote, for the Palermo newspaper \"L'Ora\", an enthusiastic article on Pablo \u003ca href=\"https:\/\/www.settemuse.it\/pittori_scultori_europei\/pablo_picasso.htm\" target=\"_self\"\u003ePicasso\u003c\/a\u003e , the Spanish artist who would be the main stylistic and moral model throughout his life.\n Following his own path, the painter moved to Rome in 1937, where he met his future wife Mimise, and formed friendships with the artists of the \"Roman school\". \nGuttuso became the most eloquent spokesman for a young generation of artists who had developed a growing aversion to the politics and cultural trends of the Fascist regime already in the years before the war. The young artists expressed their views on creative freedom and the moral imperative of realism in newspapers and through their works.\n At the same time, Guttuso illustrated his ideals in a series of large-scale works, starting with \"Execution in the Countryside\" from 1938-39, dedicated to Federico Garcia Lorca, \"Escape from Etna\" from 1940 and \"Crucifixion\" from 1941. Having left Rome for political reasons in 1943, Renato Guttuso took refuge in Quarto (Genoa), returning to the capital the following year to join the Resistance.\n Protagonists of the exhibition \"Art against barbarism\", organized by \"L'Unità\", are the drawings on the atrocities of war, published in the album \"Gott mit Uns - God is with us\", a motto engraved on the buckles of German soldiers, in 1945. \nIn the feverish post-war years, he took part in the ideological debate between figurative and abstract painters.\n In various articles in \"Vie Nuove\", \"L'Unità\" and \"Rinascita\", Renato Guttuso fights for a descriptive realism that he considers popular and accessible to the masses and stylistically follows the first period of Pablo \u003ca href=\"https:\/\/www.settemuse.it\/pittori_scultori_europei\/pablo_picasso.htm\" target=\"_self\"\u003ePicasso\u003c\/a\u003e , the so-called \"Blue\" one. \nWhile he cannot deny his affinities with Soviet Socialist Realism, Guttuso maintains that his artistic ideology stems from deeply held convictions and is not imposed by any political system. During the 1950s, the painter was the leading exponent of a \u003ca href=\"https:\/\/www.settemuse.it\/arte\/corrente_realismo.htm\" target=\"_self\"\u003e\"realist\" movement,\u003c\/a\u003e politically engaged alongside the Italian Communist Party (PCI), often polemically opposed to the \"formalist\" tendencies of much abstract art. Guttuso, who never betrayed his personal \"campaign of ideas,\" created works that realistically portrayed the European situation. \nIn 1968, he went to Paris, where he portrayed young people at the first protest marches in what would later become the legendary \"French May.\" From 1969, he lived permanently in Rome, on the famous Via Margutta, the street of painters, with his companion Marta Marzotto, the beautiful countess, a former rice weeder and model. This was the artist's intimate period, when he began a series of purely autobiographical paintings. Guttuso's polemical spirit often surfaced forcefully, reaching its peak with the large canvas \"I funerali di Togliatti\" (The Funeral of Togliatti) from 1972, a manifesto of anti-fascism. \nGuttuso is a painter who, despite belonging to an era full of social and cultural change, experienced it as a protagonist, did not change his figurative style, always remaining a painter enlightened by his homeland. In his mature years, Guttuso continued to paint large-scale frescoes of contemporary events, often with markedly allegorical tones, images of autobiographical and peasant inspiration, and politically charged. Among the most renowned Italian artists abroad, Guttuso has held numerous prestigious exhibitions, including a retrospective at the Pushkin Museum in Moscow and the Hermitage in Leningrad. He taught painting at the Academy of Fine Arts in Rome and was a Visiting Professor at the Hochschule fur Bildende Kunste in Hamburg. Appointed Senator of the Republic in 1976, he died in Rome on January 18, 1987, leaving his hometown many works that are collected in the Villa Cattolica museum in Bagheria.","brand":"Nicosia Pietro","offers":[{"title":"Default Title","offer_id":56215695262082,"sku":"NICPI001","price":1700.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/2fe4b98d-a98a-41c8-9dd8-07ee3c95c4ca.jpg?v=1768428326","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/renato-guttuso-contadini","provider":"Venderequadri","version":"1.0","type":"link"}