Anna in posa
| Reference: | S45968 |
| Author | Luigi Bartolini |
| Year: | 1933 |
| Measures: | 225 x 285 mm |
| Reference: | S45968 |
| Author | Luigi Bartolini |
| Year: | 1933 |
| Measures: | 225 x 285 mm |
Description
Etching, 286x225 mm, signed and dated on plate L. Bartolini 1933. Signed and numbered in pencil at bottom Bartolini 1/3.
First state example, before the cutting of the plate.
Magnificent proof, rich in tone, on thin ivory map, with small margins, in perfect condition.
On the verso of the print, Ex libris by Luigi Bartolini and author's signature "“Acquaforte di Luigi Bartolini” with handwritten title and monogram in pen “Anna in posa (prima versione) lastra distrutta LB” and “Esemplare n. uno della serie di tre”.
So, the title Anna in posa is autograph by Bartolini himself, while the example of the print reproduced in the catalog Luigi Bartolini alla Calcografia (Urbino Exhibition, 1997) bears the title "model" also autograph, in pencil at the bottom, next to the signature.
The catalog entry reads: "Second state; the plate, cut on the upper, lower and right side of the print, with shadows added to border the right edge of the print, reworked in the head, replaced with a new profile and hair, up to the neckline, eliminating the first shadows at the collarbone, with the new measurements 238x187, was reissued in 1943 in "Sante e Cavalle" as the first of 13 subjects. Other states exist with additional changes in the head and face area. Other titles: Model posing; Model posing with bust and panties on feet, head lowered".
Compared to the example published in the catalog, this one has changes in the model's face and clearly shows the engraved part in the white area on the right. It is, therefore, an earlier issue than the example shown in the Urbino exhibition. This would also be confirmed by that "Prima versione” (first version) affixed in the plate on the verso of the etching.
It is not matched, the inscription "destroyed plate" affixed by the author on the verso of the work.
Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini.
After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his 'Modi', published by Edizioni del Cavallino in 1938, was censured by Alfieri, a government minister. Nevertheless, it was another minister, Bottai, who opened his one - man show at the Galleria di San Marco in Rome in 1943. The 1930s and 1940s were Bartolini's most prolific period as an etcher. He made as many as 99 in 1936, and 81 in 1943.
Bartolini frequently illustrated his own writings. In 1943, 'Sante e cavalla', a set of 12 etchings, were printed under his direction at the Calcografia Nazionale, and published by Edizioni Documenta in Rome, while Tumminelli, another Roman publisher, issued his 'Vita di Anna Stickler', which was illustrated by 20 etchings. These were followed in 1946 by Bartolini's illustrations to Rimbaud's 'Les illuminations', and 'Une saison en enfer', which were published by De Luigi, also in Rome. In 1953, his 'Addio e sogni: 6 poesie et 6 acqueforti' was published in Milan by Giovanni Scheiwiller's all' insegna del pesce d'oro, while the following year, in Florence, Vallecchi published his 'La caccia al fagiano', which was illustrated by seven of his etchings. Bartolini's final 'livres d'artiste', illustrations to Leopardi's 'Canti', and to his own 'L'eremo dei Frati bianchi', and 'Testamento per Luciana', were published in 1962 and 1963 by Renzo Bucciarelli in Ancona.
Bartolini also made a small number of lithographs. In 1948, he was one of the artists who illustrated the memorial volume, 'Elegia in morte di Ines Fila'. The Florentine workshop, 'Il Bisonte', published two portfolios in 1962, one consisting of six of his lithographs, the other of 6 of his etchings (Text from Martin Hopkinson, 'Italian Prints 1875-1975').
Bibliografia
Luigi Bartolini alla Calcografia, Urbino, 1997, p. 208, n. 112.
Luigi Bartolini (Cupramontana 1892 – Roma 1963)
|
Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini.
After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his 'Modi', published by Edizioni del Cavallino in 1938, was censured by Alfieri, a government minister. Nevertheless, it was another minister, Bottai, who opened his one - man show at the Galleria di San Marco in Rome in 1943. The 1930s and 1940s were Bartolini's most prolific period as an etcher. He made as many as 99 in 1936, and 81 in 1943.
Bartolini frequently illustrated his own writings. In 1943, 'Sante e cavalla', a set of 12 etchings, were printed under his direction at the Calcografia Nazionale, and published by Edizioni Documenta in Rome, while Tumminelli, another Roman publisher, issued his 'Vita di Anna Stickler', which was illustrated by 20 etchings. These were followed in 1946 by Bartolini's illustrations to Rimbaud's 'Les illuminations', and 'Une saison en enfer', which were published by De Luigi, also in Rome. In 1953, his 'Addio e sogni: 6 poesie et 6 acqueforti' was published in Milan by Giovanni Scheiwiller's all' insegna del pesce d'oro, while the following year, in Florence, Vallecchi published his 'La caccia al fagiano', which was illustrated by seven of his etchings. Bartolini's final 'livres d'artiste', illustrations to Leopardi's 'Canti', and to his own 'L'eremo dei Frati bianchi', and 'Testamento per Luciana', were published in 1962 and 1963 by Renzo Bucciarelli in Ancona.
Bartolini also made a small number of lithographs. In 1948, he was one of the artists who illustrated the memorial volume, 'Elegia in morte di Ines Fila'. The Florentine workshop, 'Il Bisonte', published two portfolios in 1962, one consisting of six of his lithographs, the other of 6 of his etchings.
(Text from Martin Hopkinson, 'Italian Prints 1875-1975')
|
Luigi Bartolini (Cupramontana 1892 – Roma 1963)
|
Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini.
After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his 'Modi', published by Edizioni del Cavallino in 1938, was censured by Alfieri, a government minister. Nevertheless, it was another minister, Bottai, who opened his one - man show at the Galleria di San Marco in Rome in 1943. The 1930s and 1940s were Bartolini's most prolific period as an etcher. He made as many as 99 in 1936, and 81 in 1943.
Bartolini frequently illustrated his own writings. In 1943, 'Sante e cavalla', a set of 12 etchings, were printed under his direction at the Calcografia Nazionale, and published by Edizioni Documenta in Rome, while Tumminelli, another Roman publisher, issued his 'Vita di Anna Stickler', which was illustrated by 20 etchings. These were followed in 1946 by Bartolini's illustrations to Rimbaud's 'Les illuminations', and 'Une saison en enfer', which were published by De Luigi, also in Rome. In 1953, his 'Addio e sogni: 6 poesie et 6 acqueforti' was published in Milan by Giovanni Scheiwiller's all' insegna del pesce d'oro, while the following year, in Florence, Vallecchi published his 'La caccia al fagiano', which was illustrated by seven of his etchings. Bartolini's final 'livres d'artiste', illustrations to Leopardi's 'Canti', and to his own 'L'eremo dei Frati bianchi', and 'Testamento per Luciana', were published in 1962 and 1963 by Renzo Bucciarelli in Ancona.
Bartolini also made a small number of lithographs. In 1948, he was one of the artists who illustrated the memorial volume, 'Elegia in morte di Ines Fila'. The Florentine workshop, 'Il Bisonte', published two portfolios in 1962, one consisting of six of his lithographs, the other of 6 of his etchings.
(Text from Martin Hopkinson, 'Italian Prints 1875-1975')
|