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Books : Arts & Photography : Artists, A-Z : ( S-U ) : Severini, Gino
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Gino Severini's first solo exhibition took place in London's Marlborough Gallery in 1913. Its reception ranged from adulation among the cognoscenti to bewildered reactions from the popular press. Though his paintings were shown in the context of Futurist group exhibitions or thematic shows of twentieth-century Italian art, there was never a museum exhibition in Britain devoted solely to his work. Gino Severini: From Futurism to Classicism, part of the National Touring Exhibitions program of the Hayward Gallery, aims to redress this situation. The exhibition and the lavishly illustrated book that accompanies it bring into focus the essence of Gino Severini's highly distinctive talent, and the contribution he has made to modern art. Gino Severini concentrates on the most significant decade of the artist's career: the years from 1910 until 1920. It follows the development of his art from his Futurist works of the early 1910s, with their rejection of the past and their emphasis on dynamism and the modern world, to his adoption of a Synthetic Cubist style during the war years and finally to the timeless and mathematically composed still lifes and figures he painted from 1919 onwards.
Reflected in a broad range of contemporary themes from war to dancers, Severini's stance during a decade of political and artistic upheaval--made especially distinctive by the move from his
This is the catalogue of the recent exhibition at the Guggenheim Collection in Venice devoted to a 20th-century avant garde master on one of his favorite subjects: the dance. Between 1910 and 1915 Gino Severini was a central figure of Italian Futurism, the movement that celebrated the modern by giving expression to contemporary theories about sensory perception of the new urban and industrial environments. As a resident of Paris, Severini served as an intermediary between Futurists in Italy and the Parisian avant-garde, especially his friends among the Cubist painters.
Above all other art movements, the dance excited Severini's imagination as a painter during his Futurist period. The dancing figure was for him the icon of modernity, a metaphor of dynamism, and the door of perception through which he invited viewers to enter a world built on rhythm observed with intense involvement.
The volume charts a pictorial journey to the limits of abstract art: fifty paintings by Severini, together with nearly fifty works by his contemporaries including: Van Doesburg, Kirchner, Man Ray, Gaudier-Brzeska, Muybridge, Nevinson, Boccioni, Depero, Balla and Sironi.
In 1906 the Italian futurist painter Gino Severini arrived in Paris with no money, no name, and very few acquaintances, only to become a key protagonist in the artistic and literary circles that would spearhead the modernist movement. His autobiography from this period, translated for the first time into English, tells the story of the Parisian art world he knew so well, and offers a unique account of the individuals and ideas that created modernism.Here we encounter painters and sculptors such as Matisse, Picasso, Modigliani, Braque, Gris, Dufy, Léger, Delaunay, Duchamp, Lipchitz, and De Chirico; the literary figures Marinetti, Paul Fort, Apollinaire, Cocteau, Reverdy, and Jarry; and also the philosopher and writer Maritain, composers Eric Satie and Igor Stravinsky, and the impresario of the Ballets Russes, Sergei Diaghilev. Severini shared their experiences in the studios, galleries, and cafés of Montmartre and Montparnasse, and re-creates the passionate debates that animated those gatherings. We witness not only the maturing of Severini's art and aesthetic theory but also the intellectual and political turbulence that brought forth a wealth of approaches to art in the first two decades of this century, including futurism, cubism, surrealism, constructivism, dadaism, and metaphysical painting.
Beginning with an honest, humorous description of his financially ill-fated family in Tuscany, Severini goes on to describe the triumphs and mistakes of his adolescence in the Roman art scene, where he fraternized with Balla and Boccioni. His down-to-earth tone pervades his anecdotes and assessments of the Parisian art world, enabling a casual reader to grasp the many issues at stake. As Severini's status as an important painter gains widespread recognition, this autobiography serves as a valuable resource for critics and a thoroughly delightful, engaging account for anyone interested in learning more about this artist who sheds new light on many of the crucial movements of the century.
This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.
This book is part of the Our Name in History series, a collection of fascinating facts and statistics, alongside short historical commentary, created to tell the story of previous generations who have shared this name. The information in this book is a compendium of research and data pulled from census records, military records, ships' logs, immigrant and port records, as well as other reputable sources. Topics include:- Name Meaning and Origin
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![20th Century Italian Art [Sotheby's, London (1954) / 22 Oct 2001]](http://ecx.images-amazon.com/images/I/51TSA3TNNKL._SL160_.jpg)
Sotheby's auction house, London (22 October 2001). Sale Code: 1954. About 176 pages and 58 lot(s) for a total of 6159400 GBP. Catalog is in English. Include works by: Baj, E.; Balla, G.; Beecroft, V.; Boetti, A.; Burri, A.; Calzolari, P P; Castellani, E.; Cattelan, M.; De Chirico, G.; De Maria, N.; Fabro, L.; Fontana, L.; Gnoli, D.; Kounellis, J.; Manzoni, P; Manzù, G.; Marini, M.; Melotti, F; Merz, M.; Morandi, G.; Mulas, U.; Novelli, G.; Ontani, L.; Paolini, G.; Parmiggiani, C.; Pistoletto, M.; Pomodoro, A.; Rosai, O.; Rotella, M.; Schifano, M. ; Severini, G.; Toderi, G.; Uncini, G. ; Zorio, G.. Auction catalogs are valuable reference tool for pricing and identifying works of art and collectibles.
This digital document is an article from The Review of Metaphysics, published by Thomson Gale on September 1, 2004. The length of the article is 1039 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Ancii Manlii Severini Boethii. De divisione liber.(Book Review)
Author: Timothy B. Noone
Publication: The Review of Metaphysics (Magazine/Journal)
Date: September 1, 2004
Publisher: Thomson Gale
Volume: 58 Issue: 1 Page: 171(3)
Article Type: Book Review
Distributed by Thomson Gale
The Avant-Garde in Danish and European Art 1909-1919: Picasso, Kandinsky, Scharff, Chagall, Severini
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