Published on Friday 13th, 2011
One of the great masters of modern art, Gino Severini
(Cortona 1983, Paris 1966) left Italy in 1906 to settle in Paris, the capital of modernity, becoming the "trait d'union” between France and Italy, a correspondence that for him would grow to practically resemble a personal mission.
" according to Daniel Wells, curator of the show. The exhibition traces with linearity and precision the most important stages of the artist’s career, ranging from pointillism with works such as Printemps à Montmartre
(1909), to futurism which we can see in Danseuse bleue
(1912), to synthetic Cubism Still Life Guitar
(1919). Then comes the section from Cubism to Classicism, which takes its title from the treatise on the return to order, written by Severini in 1920. For just a return to traditional values in painting, the golden section, which will lead him to create works such as Maternità
(1916), or Jeanne
, and Gina
(1934-1935), "not a symmetrical composition but eurhythmic
" is this definition the artist proposes in his text. The route ends with the Harlequin
(1938) in the section devoted to the thirties.
The last two sections are in perfect correspondence with the collections of the Orangerie and the works, among others, by André Derain. An exhibition is also a way of life that sees at its center the research in painting that raised him beyond the simple definition of a modern artist.
"Modern of course, but for him the act is mental before it is visual, it proposes the source of many conceptual trends that govern art today. For Severini the artistic gesture was to represent the human being in that moment, in front of that society, today there is a tendency in artists to want to mark their presence, to comment, but not to describe their private essence but to make sense of the artistic operation that is also contemporary
," asserts Daniela Fonti. Many of the paintings present are unpublished, some such as the landscape Civray - Vienne
(1908) or the portrait of Blanche Périvier
(1908) have emerged only in recent years. The latter is among those made for the bourgeoisie of Civray, a town in the region of Poitou-Charentes in which Severini stayed several times at his friend Pierre Declide’s.
Many museums have contributed to this exhibition, including the Thyssen-Bornemisza with the work Centripede et Centrifuge, the Estorick Collection with The Boulevard
(1911), the MOMA with armored trains in action (1915), about the war and his "idea-based realism" Also, Mots en liberté et formes
(1915) from the MART, and, as well, the Triton Foundation with Expansion-formes de lumières
(1912-1914). The exhibition will continue at the Mart from September 17 to January 8, 2012. This exhibition, which confirms a period of intense collaboration between the Musée d'Orsay et de l'Orangerie and MART, takes place shortly after the inauguration, in Rovereto, of the exhibition The Revolution of the Gaze. Impressionism and Post-Impressionism at the Musée d'Orsay.