Gino Severini
(Cortona, 1883-Paris, 1966) Italian painter.After a period in Rome, where he frequented the studio of Giacomo Balla, from whom he learned the divisionist technique, in 1905 he went to Paris.He deepened into Divisionism with the study of Impressionism and Seurat's work, and in 1910 he joined Futurism.The influence of Cubism, already present in 1910, became more evident and personal in 1914.From 1923 on he dedicated himself mainly to making decorative panels and mosaics for private houses and churches, in an approach to the Italian Novecento.Towards the 1940s he returned to painting with a neo-Cubist roots and open to geometric abstraction.Also noteworthy are his essays From Cubism to Classicism (1921) and Reasoning about the figurative arts (1936).
Gino Severini
Born in Cortona, Gino Severini's vocation made him move to Rome in search of his fortune.There he became acquainted with Umberto Boccioni and frequented the studio of Giacomo Balla, but due to the limited success of his paintings at the Mostra de Rifiutati at the Teatro Constanza (1905), he had to go to Paris, where he received with enthusiasm, but also with reservations, the futurist manifesto of 1910.
Although adhering to this trend, his style incorporated in an eclectic way the conquests of Orphism and later he was influenced by Pablo Picasso and Georges Braque.The French cubist avant-garde and the passion of Italian Futurism are present in a large part of his work, as seen in the straight and aggressive lines, the application of colors in the style of Georges Seurat's neo-impressionism and the irreverent tone typical of the artists.interwar period.
Bailarina (1915), by Gino Severini
Severini was the painter who used the Futurist concept of "analogy" as an indiscriminate mixture of memories or fleeting moments gathered outside of logic or temporal linearity.It is a reflection of memory understood as a dynamic process, as a mental flow of images and a whirlwind of forms drawn from a diversity of times and spaces. North-South (1912, Pinacoteca de Brera) is the result of the mixture of visual flashes obtained during a tour of the city, structuring fragments of images in a cubist mesh.
In other works, Severini applied the resources of cubism to translate the movement as a juxtaposition of different points of view.In his series of dancers he gathers fragments of scattered times as an evocation of the movements of dance.From the recognition of concrete figurative elements (faces, shoes, ruffles) in Blue Dancer (1912, Mattioli Collection, Milan) or Dynamism of a ballerina (1912, Pinacoteca de Brera) , would go on to formal games in which the interpenetration of elements would be reduced to contrasts of form, lines and colors, which merge vertiginously into a frenzied amalgam of which Ritmo plastic del 14 de julio (1913, Franchina Collection, Rome) is a magnificent example.
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