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Filippo De Pisis1930s Filippo De Pisis Signed Still-Life Painting1930 ca.
1930 ca.
$14,382
£10,655.69
€12,000
CA$19,832.69
A$20,997.64
CHF 11,363.33
MX$250,960.46
NOK 141,642.44
SEK 129,526.98
DKK 91,417.08
About the Item
A beautiful, intense painting by one of the greatest Italian avant-garde artists of the 20th century.
In this beautiful, poetic work, the great artist Filippo De Pisis (Ferrara, 11 May 1896 – 2 April 1956), was an Italian painter and poet. expresses himself in one of his iconic subjects: still life with a vase of flowers. The colours, which are both soft and intense, the decisive yet gentle brushstrokes and the suspended atmosphere make this work a small but great masterpiece.
Signed lower right.
This artwork, never before on the market, comes from an important private collection and is beautified by an impressive frame in gilded wood, in almost perfect condition.
This artwork, never before on the market, comes from an important Italian private collection
Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts.
Our company has been present on this platform for many years, with numerous sales made and just as many excellent reviews received that you can under our Furniture account.
In Rome, where this painting originates from, he frequented the house of the poet Arturo Onofri and met Giovanni Comisso, who would become his great friend.
From his first months in Rome he began to compose the short stories that would later be included in the collection La città dalle cento meraviglie, published in 1923 with a work by his fellow citizen Annibale Zucchini on the cover.
In 1920 he exhibited his drawings and watercolours for the first time in Anton Giulio Bragaglia's art gallery in Via Condotti, alongside the works of Giorgio de Chirico.
It was in these years that he began to establish himself as a painter and his works were influenced by Armando Spadini.
The stories of Rome's past, curiosities and discoveries animated de Pisis and it was precisely on this path that he composed "Ver-Vert": "an immodest diary of a poet who was increasingly becoming a painter".
Other writings anticipated what would be represented in his still lifes with landscapes.
His painting was initially influenced by his encounter with Giorgio de Chirico, Alberto Savinio and Carlo Carrà in Ferrara around 1915.
He was so fascinated by their approach to painting that he adopted their metaphysical style in the early part of his career.
His first paintings were “Oggetti con numeri” (Objects with Numbers) in 1914 and “Le pere” (The Pears), a prelude to his series of still lifes, characterised by spatial relationships capable of evoking a feeling of infinity.
The works “Marina con pesce” (Seascape with Fish), “Marina con melanzane” (Seascape with Aubergines) and “Marina con mele” (Seascape with Apples) from the 1930s are examples of the influence of metaphysical painting on de Pisis.
Further inspiration came from Manet and Renoir, from whom he learned the richness of intense colours and luminous atmospheres, while maintaining echoes of Venetian colourism.
The Parisian period, which began in March 1925, marks the full maturity of his artistic career. He painted en plein air like the great vedutisti and came into contact with Édouard Manet, Camille Corot, Henri Matisse and the Fauves.
These were the years in which he created some of his most famous paintings: "The large still life with the hare", "The young bacchus", "Still life with shells".
Recurring themes, in addition to still lifes, were urban landscapes, male nudes and images of hermaphrodites.
Following a personal exhibition in Milan in 1926 presented by Carrà at the Lidel room, he also achieved success in Paris with his personal exhibition at the Galerie au Sacre du Printemps with the presentation of de Chirico.
Although his work was primarily tied to Paris, he continued to exhibit in Italy and began writing articles for L'Italia Letteraria and other minor magazines.
He established a close relationship with the painter Onofrio Martinelli, whom he had previously met in Rome.
Between 1927 and 1928, the two artists also shared a home-studio on Rue Bonaparte. He entered the circle of Italian artists in Paris, a group that included de Chirico, Alberto Savinio, Massimo Campigli, Mario Tozzi, Renato Paresce, Severo Pozzati, and the French critic George Waldemar (who edited the first monograph on de Pisis in 1928).
During his years in Paris, he visited London for three brief stays, becoming friends with Vanessa Bell and Duncan Grant.
A change in style occurred in 1935 during a stay in London: his pictorial style became broken, almost syncopated, defined by Eugenio Montale as “fly's foot painting”.
Among his portraits, the one of his friend Mariano Rocchi (1931), now preserved in the Museo del Novecento in Milan, is very well known.
Under existing legislation, any artwork created over 70 years ago by an artist who has died can requires a license for export regardless of the work’s market price. The shipping may require additional handling days to require the license according to the destination of the artwork.
Dimensions are frame included
- Creator:Filippo De Pisis (1896 - 1956, Italian)
- Creation Year:1930 ca.
- Dimensions:Height: 25.75 in (65.4 cm)Width: 15.75 in (40 cm)Depth: 3.94 in (10 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Roma, IT
- Reference Number:1stDibs: LU2883217527972
Filippo De Pisis
Filippo De Pisis (11 May 1896 – 2 April 1956) was an Italian painter and poet.
De Pisis was born Luigi Filippo Tibertelli in Ferrara, Italy. He studied literature and philosophy at the University of Bologna beginning in 1914. In 1919 he moved to Rome, where he started to paint. He published a collection of his writings, La città dalle 100 meraviglie, in 1920.
While important editors of his time criticized De Pisis for producing overly-sentimental poetry, this emotional streak translated well on canvas. De Pisis is best known for his cityscapes, metaphysically-inspired maritime scenes, and still lifes, especially those depicting flowers. His work has a particularly airy, in-the-moment quality, and is laden with a sort of pathetic pleasure-pain. There are unexpected juxtapositions of scale and space, as when still-life objects are arranged on a surface that seems to join together with the seascape beyond.
De Pisis also executed a large body of lesser-known work, comprising homoerotic sketches of the male nude.
De Pisis spent his life in Rome, Paris and Venice. He lived a very extravagant lifestyle; he had a pet parrot named Coco, and in Venice he was one of a handful of residents at the time who used a gondola. He had two personal gondoliers on 24-hour duty, who wore black-and-gold livery.
De Pisis's work was shown twice in the Venice Biennale: once during his life, and once posthumously.
He died in Milan in 1956.
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