Federico Faruffini | Romantic / Realist painter

Federico Faruffini (1831-1869) was an Italian painter** and engraver of historical subjects, in a style that combines the styles and themes of Realism with the diffuse outlines and lively colors of Scapigliatura painters - Artistic movement that developed in Italy after the Risorgimento period (1815–1871). The movement included poets, writers, musicians, painters and sculptors. The term Scapigliatura is the Italian equivalent of the French "bohème" (bohemian), literally meaning "unkempt" or "dishevelled"..

Born in Sesto, a commune now inside the metropolitan area of Milan, he initially trained with Trecourt in Pavia. He befriended Tranquillo Cremona** and accompanied him to Milan and Venice. He traveled with Giovanni Carnovali.

In the 1864 exposition at the Brera, he submitted a watercolor, Coro della Certosa di Pavia, and four oil canvases: Scholars of Alciato, an Annunciation, Cordello e Cunizza, and his Machiavelli and Borgia, which he both painted and engraved, and for which he received a medal in 1866.
His Sacrifice at the Nile was painted for the 1865 exhibition. In 1867, at the Paris Salon, he was awarded** a first prize medal for a paintings of Borgia and one of The death of Ernesto Cairoli.
Lack of recognition and financial difficulties is said to have led him to his suicide at age 38, in Perugia. | © Wikipedia

Faruffini, Federico - Pittore ed incisore (Sesto San Giovanni 1831 - Perugia 1869).
Fu allievo a Pavia di G. Trécourt insieme con T. Cremona, con cui passò poi a studiare a Venezia e all'accademia di Brera. Ebbe vita travagliata; morì suicida.
Pittore soprattutto di quadri storici, si distaccò dalla maniera di F. Hayez, inclinando a un romanticismo più soggettivo e drammatico, con audacie coloristiche talvolta originali.
La sua attività ebbe qualche rapporto con quella della Scapigliatura.

- La Scapigliatura fu un movimento artistico e letterario sviluppatosi nell'Italia settentrionale a partire dagli anni sessanta dell'Ottocento; ebbe il suo epicentro a Milano e si andò poi affermando in tutta la penisola. Il termine fu proposto per la prima volta da Cletto Arrighi (pseudonimo di Carlo Righetti) nel suo romanzo “La Scapigliatura e il 6 febbraio” del 1862, ed è la libera traduzione del termine francese bohème (vita da zingari), che si riferiva alla vita disordinata e anticonformista degli artisti parigini descritta nel romanzo di Henri Murger Scènes de la vie de bohème (1847-1849). Contro il romanticismo italiano maggioritario (Manzoni, Berchet, D'Azeglio), recuperarono le suggestioni del romanticismo straniero e diffusero il gusto del naturalismo francese nascente e del maledettismo alla Baudelaire, anticipando verismo e decadentismo.

Si dedicò anche all'acquaforte e, negli ultimi anni, alla fotografia. Opere nelle gallerie di Milano, Pavia, Roma. | © Treccani

Robert Ricart, 1948 | Paris painting

French painter** Robert Ricart was born in Bruay en Artois. He studied at the Etudes Arts Graphiques and the Beau Arts School in Paris where he still resides.

Ricart became famous on the art market for his Paris vedutas.

He was trained at the prestigious Académie des Beaux-Arts, initially exhibited especially in the West France, from the early 1970s in Paris and other towns, received numerous awards** and his works are owned by European as well as American museums.

Aldo Parmigiani, 1935 | Figurative painter

Italian painter** Aldo Parmigiani was born in Milan in 1935 and has his studio in via Amphitheatre 9. Lives in Tradate. He is very young pupil of the painter G.M. 

He moves and attended the School of Art of the Sforzesco Castle in Milan; later he enrolled at the Academy Cimabue, to take courses of nude and specializes in graphic art at the Art Institute of Urbino.

He began to exhibit in 1960 affermndosi soon in prestigious contexts. 

Important exposure to Palazzo Guasco of Alexandria in 1983, set up by the Provincial Administration.

A large staff he was dedicated in 1996 at Palazzo Bandera Busto Arsizio, with presentation of a monograph by art historian Mario De Micheli, publication that the same critic also illustrated at the Museum of the Teatro alla Scala in Milan.
A rich catalog with a preface by Carlo Munari, had already been given to the press in 1981. In October 2000, Tradate, his adopted city, has dedicated a retrospective at Villa Truffini, with the publication of a catalog edited by the City Council. In 2012 he starred in a major exhibition in the cycle Art in the Castle at Art & Wine Gallery.

Aldo Parmigiani nasce a Milano nel 1935. Giovanissimo diventa allievo del pittore Mossa e contemporaneamente frequenta i corsi della Scuola D'Arte del Castello Sforzesco di Milano.

In seguito si iscrive alla Accademia Cimabue di Milano per seguire i corsi di nudo. Frequenta l'Istituto d'Arte di Urbino per specializzarsi nell'arte grafica, restando comunque un assiduo frequentatore degli ambienti artistici milanesi.
Ha iniziato ad esporre nel 1960 continuando poi con numerosissime personali in Italia e all'estero, partecipando ad importanti collettive, ottenendo riconoscimenti ed una costante attenzione critica.

Nella chiesa parrocchiale di Tradate-Abbiate Guazzone, vi sono opere che rappresentano una Via Crucis in una sua personale interpretazione.

Le sue opere fanno parte di collezioni private in Italia, Europa e Stati Uniti.

Merab Gagiladze, 1972 | Fantasy / Surrealist painter

Georgian artist Merab Gagiladze was born in Tbilisi.
In 1987 he began his formal art education at the Tbilisi College of Art, School of Ceramics.

In 1990 he continued his studies at the prestigious Tbilisi State Academy of Fine Arts and graduated in 1996 with a degree in Graphic Art.

Nathalie Vogel, 1980 | The liquid women

Most of the work from Vogel exhibited here pertains to undines: "liquid women", bewitching and tragic.

Several paintings deal more specifically with a quintessential theme of romantic symbolism, the drowning Ophelia.

Vogel's postmodern reexamination of the opheliac disappearance introduces subtle and complex nuances in the representation of feminity: Ophelia doesn't drown, she withdraws from us.

This feminity with an attitude is very different from the symbolist's victimized staging of feminity.