|
Fausto Pirandello (1899–1975) was an Italian painter belonging to the modern movement of the ''Scuola romana (Roman School)''. He was the son of Nobel laureate Luigi Pirandello.〔Cf. C. Gian Ferrari, ''Fausto Pirandello'', Rome 1991. See also (Biographical Note ), on ''Scuolaromana.it'' and (photo with father Luigi ). Accessed 31 May 2011〕 ==Biography== After a short experience in Paris, where he met the most important artistic personalities of the time between 1920 and 1930, Pirandello entered the movement of Scuola Romana, distinguishing himself for originality and solitary exploration. His painting tends towards a quotidian realism manifested at times in the more unpleasant and pitiless aspects of life, expressed through a dense and thorny pictorial matter.〔Cf. F. Negri Arnoldi, ''Storia dell'Arte Moderna'', Milan 1990, pp. 616–620.〕 His vision is an intellectualist one, which however translates even the most brutal naturalist datum into a sort of magic realism with an archaic and metaphysical taste.〔E.g., see images of ''(Composizione con nudi e pantofole gialle, 1923 ) ("Composition with nudes and yellow slippers"), (Donne con salamandra, 1930 ) ("Women with salamander"), (Crocifissione laica, 1935 ) ("Lay Crucifixion")''. See also the concomitant style of Emanuele Cavalli.〕 Pirandello's style goes from cubism, to tonalism, to realist-expressionist forms:〔Art critic Gianfranco Contini for instance, calls it an example of "expressionist painting" in a letter to writer Carlo Emilio Gadda, cf. Carlo Emilio Gadda, ''Lettere a Gianfranco Contini ("Letters to Contini")'', 1934/1967, Milan, 1988, p.28.〕 Important in this period was his participation to the activities of literary magazine "Corrente di Vita". Pirandello's work became an impressive testimony of a poet who interpreted in painting the analysing and psychological spirit of his father Luigi.〔Among his best known paintings of this phase, to be mentioned are ''(Il bagno, 1934 )'', ''(La pioggia d'oro (Rain of gold), 1934 )'', ''La Scala'' 1933; also noticeable his still lifes and a variant of ''The Bathers'', in the cubist manner.〕 Pirandello changed his style around the 1950s, re-absorbing influences from the cubists (i.e., Georges Braque and Pablo Picasso), and thus living the troubled and difficult phase affecting the whole Italian painting art, between "realism" and "neocubism", yet achieving through the deformations of an expressionist approach, original formal solutions in between abstraction and figuration〔E.g., his ''Natura morta (Still life)'', 1955, Roma, private collection.〕 His paintwork sought a new definition, with a strong reference to a cubist syntax in the colour tassellations and in those compositions where the narrative datum gradually loses importance. He exhibited widely, during the whole course of his artistic life, with displays at the various Biennales〔Cf., ''int. al.'', (image of 1934 ): Biennale room dedicated to Pirandello, with his ''La scala (The ladder)'' well visible in the background.〕 at the Roman Quadriennales, and personal expos at the Galleria della Cometa, Galleria del Secolo, Gallery of Rome. Among those after World War II, noticeable were his anthological exhibition at Ente Premi Roma in 1951, the persona of 1955 at the Catherine Viviano Gallery of New York and the personal at "Nuova Pesa " of Rome in 1968. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fausto Pirandello」の詳細全文を読む スポンサード リンク
|