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Segantini, Ave Maria a trasbordo II, 1886. A painting crucial, not only for the career of Segantini, but for Italian painting is considered the first work pointillist, although the technique of separation of colors has been applied scientifically. The light of dawn touches the roofs of the village lying on a strip of land that constitutes the horizon of the work and separating the sky from the water, which is transmitted light almost dazzling.

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Salvato da

Fabio Lilliu

Hayez, L’ultimo abboccamento di Jacopo Foscari con la propria famiglia (I due Foscari), 1838-1840. Hayez lends his face to the aged protagonist, the doge, forced to accept the condemnation of his son Jacopo, unjustly accused of treason, while leaning on his cane trembling with emotion.

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Salvato da

Fabio Lilliu

Segantini, Mezzogiorno sulle Alpi, 1891. The subject, as the title says, is the noon hour, captured through the cloudless sky, the blinding brightness, the woman staring at the horizon of a place outside of the composition and the green lawn. Nature is parsimonious high mountain, which even in summer becomes luxuriant.

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Salvato da

Fabio Lilliu

Segantini, Sul balcone, 1892. Milan, Palazzo Reale. There is a symbolic meaning behind when the rest of the home Segantini, Baba, leaning on the wooden railing, but a studied balance of components, on which rests the image. The canopy is a crucial element of composition that, with its diagonal decided, defines the depth of the image, accentuating the line of vision of Baba and the balcony.

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Salvato da

Fabio Lilliu

Boccioni, Tre donne, 1909-1910. Milan, Gallerie d’Italia. The protagonist of the composition is light, probably designed to supplement the figures with the environment, in a relationship that tends mostly to the interpenetration of figures and things. The light has the three characters (mother, sister Ines and perhaps, the woman with whom the artist had at that time a report) in an almost suspended, until they appear materialized only because of the light values.

Salvato da

Fabio Lilliu

Inganni, Contadino che accende una candela con un tizzone, 1850. Milan, Gallerie d’Italia. Featuring a highly refined pictorial quality, warm colors and thick and the diligent and scrupulous return to details, like the ostrich feather on the hat, blue handkerchief tied around his neck and the glowing ember, the work shows a subject immersed in a 'setting dark and lit by the glow of candles and embers.

Salvato da

Fabio Lilliu

Canella, Porta Tosa in Milano, 1848-1850. Milan, Gallerie d’Italia. They depict the dramatic and agitated moments of the Five Days of Milan in July 1848. In the background, framed by an exact perspective, there is the Porta Tosa, which no longer exists. On the sides there are the houses, the theater of the acts of heroism of the insurgents who embrace the rifle from roofs, balconies and windows.

Salvato da

Fabio Lilliu

The letters of the writer Giovanni Segantini Neera: My soul. Milan, Palazzo Reale. "Do not ever tried a God out of myself, because I was convinced that God was on us, and that each of us had, and I could buy, doing good works, good and generous; that each of us is part of God, as each atom is part of the universe.I do not ever tried other happiness besides the one true, that of knowledge".

Salvato da

Fabio Lilliu

Melotti, Scultura n. 15, 1935. Milan, Museo del Novecento. The function of the vertical bands is similar to an arpeggio rhythmically identical with an effect of homogeneous flow which ascends and acts as a support band to which there rests a line that is a melody.

Salvato da

Fabio Lilliu

Tosi, Luglio (La strada), 1928. Milan, Museo del Novecento. The picture shows a country road between two narrow bands of vegetation sloping down to a house enclosed in a mountainous backdrop. It 'a landscape that combines a complex interplay of space and color to the landscape pattern of the road.

Salvato da

Fabio Lilliu