Arturo-Martini-Ritratto-di-Wally-Toscanini-1925

Arturo Martini | Ritratto di Wally Toscanini,1925

Arturo Martini🎨, (born August 11, 1889, Treviso, Italy - died March 22, 1947, Milan), was a leading Italian sculptor and painter between World War I and II.
He moved between a very vigorous (almost ancient Roman) classicism and modernism. He was associated with public sculpture in fascist Italy, but later renounced his medium altogether.
  • Futurism
Martini seems to have been an active supporter of the Futurist movement between 1914-1918. He certainly corresponded with Umberto Boccioni and produced a modernist booklet in 1918. His early works show an archaic tendency, two-dimensionality and polychrome effects.

Arturo-Martini-Ritratto-di-Wally-Toscanini-1925
  • In Fascist Italy
His later works returned to a more traditional style, but with "irony, agility and an eclectic capacity to combine or reinterpret sources".

Between the wars, he became the semi-official sculptor of the fascist regime. He was literally overwhelmed by commitments: great monuments and commemorative works for courthouses, churches and universities. Examples include the great bronze at La Sapienza University in Rome and the memorial to the aviator Tito Minniti. He sculpted the monument to the Fallen at the Palazzo delle Poste, Naples.
  • Post-war
After the fall of Mussolini, feeling that his art had been corrupted, he published an essay against sculpture in the magazine La Martini in 1945: "scultura, lingua morta" (sculpture, a dead language). He writes for example: "La scultura un'arte è da negri e senza pace" (sculpture is a black and unquiet art).
Despite this attack on his own métier, he created one significant work after the war, a marble sculpture in a tribute to the guerrilla leader Primo Visentin, known as "Masaccio", who had been killed at the end of the war in Loria (Padua) in unexplained circumstances.
Martini is as important Italian sculptor in the period between the world wars.
He worked with many materials (clay, wood, plaster, stone, especially marble, bronze, silver) but never moved far from figuration, although he was able to model abstract forms, as his atmosfera di una testa (vibrations of a head) of 1944 testifies. He exercised great influence on later Italian sculptors such as Marino Marini, Emilio Greco, Marcello Mascherini, Pericle Fazzini, and his student Fiore de Henriquez. | © Wikipedia

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Arturo-Martin-Convalescente-1932-www.tuttartpitturasculturapoesiamusica.com

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Arturo-Martini-Convalescente-1932

Arturo-Martini-Il-giovane

Arturo-Martini-Il-Pastore

Arturo-Martini-La-prostituta-1913

Arturo-Martini-La-Sete-www.tuttartpitturasculturapoesiamusica.com

Arturo-Martini-Maternita

Arturo-Martini-Testa-di-ragazza-1947

Arturo-Martini-www.tuttartpitturasculturapoesiamusica.com

For biographical notes -in english and italian- and All works by Arturo Martini see:


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Arturo Martini | Portrait de Lillian Gish, 1929

Oscar-Hermann-Lamb-Ritratto-femminile-1920-www.tuttartpitturasculturapoesiamusica.com

Oscar Hermann Lamb (1876-1947)

Oscar Hermann-Lamb was an Italian artist🎨 born in Trieste. Like so many Triestine painters he studied in Munich, where he remained for two years, between 1895-1896.
Immediately afterwards he continued his studies in Rome and from 1900 he decided to settle in Vienna.
His friendship with the Friulian sculptor Alfonso Canciani dates back to this phase - also a resident of Vienna - to whom he dedicated a portrait, documented in the archive of the Revoltella Museum.
Especially committed to the study of the figure, in these years he produced great compositions of a Divisionist🎨 imprint (see the "I founders🎨" canvas of 1903, purchased from the Revoltella Museum).

Oscar-Hermann-Lamb-Ritratto-femminile-1920-www.tuttartpitturasculturapoesiamusica.com

He returned to Trieste only in 1921 and his works appeared in the first post-war exhibitions.

The most recurrent subject in the production of maturity had become the female figure, to which he knew how to give the most diverse interpretations, always characterized, however, by a refined elegance and a deep sensuality.

Self+portrait-1928-www.tuttartpitturasculturapoesiamusica.com

Lamb-Oscar-Hermann-I-fonditori-1903-www.tuttartpitturasculturapoesiamusica-

Lamb-Oscar-Hermann-Ritratto-di-giovane-con-sigaretta-www.tuttartpitturasculturapoesiamusica.com

The "Amazzone🎨", dated 1932, is a very representative work of its mature style.
In the thirties, unable to reintegrate into the Trieste environment, he moved back to Vienna, where he died in 1947.

Oscar-Hermann-Lamb-Madonnina-www.tuttartpitturasculturapoesiamusica.com

Oscar Hermann-Lamb nacque a Trieste nel 1876. Come tanti pittori triestini studiò a Monaco, dove rimase per un biennio, tra il 1895-1896.
Studiò disegno a Monaco di Baviera alla scuola di Ludwig Herterich, poi frequentò l'Accademia Inglese a Roma, gli studi dei pittori romani più in voga ed esercitò lo spirito e la mano copiando i quadri antichi nelle Gallerie della Capitale.
Uno dei suoi primi lavori fu "I fonditori🎨", che esposto a Trieste venne poi acquistato dal signor Bleekmann di Murzzuschlag, proprietario di una acciaieria della Sturia.
Nel 1900 si recò a Vienna e cominciò ad esporre al Kunstlerhaus. A Vienna eseguì ritratti per la famiglia Bohler.

Oscar-Hermann-Lamb-Ritratto-femminile-1923-www.tuttartpitturasculturapoesiamusica.com

Tornò a Trieste solo nel 1921 e le sue opere comparvero nelle prime esposizioni del dopoguerra. Il soggetto più ricorrente nella produzione della maturità era divenuta la figura femminile, alla quale egli sapeva dare le più diverse interpretazioni, sempre caratterizzate, però, da una raffinata eleganza e da una profonda sensualità. 
L' "Amazzone🎨",  datata 1932, è un'opera molto rappresentativa del suo stile maturo.
Negli anni Trenta, non riuscendo a reintegrarsi nell'ambiente triestino, si trasferì nuovamente a Vienna, dove morì nel 1947.

Oscar-Hermann-Lamb-Standing-Woman-www.tuttartpitturasculturapoesiamusica.com

Nel 1912 si recò in Inghilterra e durante la prima grande guerra ha sempre lavorato a Vienna.
Si è dedicato in un primo tempo alla pittura ad olio ma in seguito ha prediletto l'acquerello, eseguendo composizioni simboliche e figure femminili idealizzate.
Si è dedicato raramente al paesaggio ed al ritratto.

Le sue opere principali sono:
  • "Sehnsucht", esposta a Vienna nel 1918 alla Kiinstlerhaus e acquistata dalla ditta Bruckmann che la riprodusse e le dette larga diffusione;
  • "Il bagno della dea";
  • "Al chiaro di luna";
  • "Isabella";
  • "Danzatrice";
  • "Vergini delle roccie".

Oscar-Hermann-Lamb-www.tuttartpitturasculturapoesiamusica.com

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Pieter de Hooch | Pittore del Secolo d'oro olandese

Pieter de Hooch (1629-1684) è stato un pittore Olandese.
All'età di sedici anni studiò ad Haarlem sotto la guida del maestro Nicolaes Berchem appena rientrato da un soggiorno in Italia.
La sua carriera si svolse all'Aia, ad Amsterdam e soprattutto a Delft, dove compose le sue opere, ritraendo scene di vita familiare della borghesia locale in vaste composizioni di carattere patriottico, in singoli ritratti o in scene di carattere.

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Walter-Savage-Cooper-A-Lady-in-a-Garden-www.tuttartpitturasculturapoesiamusica

Walter Savage Cooper (1861-1943) Genre painter

Walter Savage Cooper was an British painter🎨 of figure and genre scenes🎨.
Walter Savage Cooper was born at Castle Road, St Pancras, London on 18 November 1861, son of James Cooper, a tailor, who was born at Framlingham, Suffolk, and his wife Jane Elizabeth born Hayes, who married at Oxford in 1848.
By in 1861, his parents had moved from Oxford, where five of their children were born, to Castle Road, St Pancras, London where 41 year old James and 35 year old Jane had a further three children, including Walter.

Walter-Savage-Cooper-A-Lady-in-a-Garden-www.tuttartpitturasculturapoesiamusica

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Venice paintings

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Gentile Bellini (Italian Early Renaissance Painter, 1429-1507)

Venice is a city in northeast Italy which is renowned for the beauty of its setting, its architecture and its artworks. Venice has been known as the "La Dominante", "Serenissima", "Queen of the Adriatic", "City of Water", "City of Masks", "City of Bridges", "The Floating City" and "City of Canals".
The name is derived from the ancient Veneti people who inhabited the region by the 10th century B.C. The city historically was the capital of the Venetian Republic.