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"Il parco della Reggia di Venaria Reale" - Giovanni Giani
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Description
(Torino 1866 - 1936)
Cm 77x123 | In 30.31x48.43
Oil on canvas
He was born in Turin on Jan. 11, 1866, to Giuseppe, a painter, and Giuseppina Giani, daughter of impresario P. Giani, Giuseppe's benefactor (but not relative). From 1881 to 1886 he attended the Accademia Albertina, at which his father taught, taking the figure drawing course taught by E. Gamba and the painting course taught by A. Gastaldi. In the course of his studies he was awarded prizes in the "annual competitions": in 1885 he brought back the third prize, silver medal ex aequo with G. Robba, in the fifth class test of painting with a Figure istoriata dal vero: Odalisca; in 1886 he won the second prize, gold medal of 200 lire, in the triennial painting competition with a composition having as its theme a Sagrifizio at the time of the Inquisition (both works are of unknown location). In 1883 he participated for the first time in the annual exhibition of the Society for the Promotion of Fine Arts in Turin, where he exhibited D'ordine superiore (location unknown); the following year he exhibited Dal vero there, which, although traces of it have been lost, would seem to testify to his adherence to a verist brand of research. He achieved a decisive affirmation in 1887 when the painting A giornata finita (location unknown), presented at the Promotrice, was reproduced in chromolithography on the Album of the Society, and was purchased by V. Grubicy. In that period he turned out to be one of the young artists "of more than dignified standing" whose pictorial production drew inspiration "from the themes and modes that had recently established themselves in painting in the Piedmont area: veristic landscape painting and the modern genre scene, or more rarely in costume, executed with perfect diligence"; a fact peculiar to the regional artistic scene in the second half of the century, and a characteristic feature of Giani's art, is the integration of "landscape and figure," no longer understood as "separate and opposite genres." Throughout the 1990s he devoted himself mainly to the study of the landscape and people of the Intelvi valley, his father's place of origin, the Biellese and the Val d'Aosta. It is perhaps to be understood as a sign of his convinced orientation, at that time, toward veristic descriptions of the environment, the episode relating to 1890-91, when Giani having participated in the competition for the artistic boarding school in Rome, together with N. Fava, G. Pellizza and C. Saccaggi, was deemed eligible for the performance of the test centered on the theme Samson the Prisoner, and later withdrew. In 1891 he participated in the Brera Triennale, obtaining, together with C. Follini and A. Rossi, a recommendation from L. Chirtani in the Illustrazione italiana. In 1896 he participated in the "Festival of Art and Flowers" exhibition in Florence, exhibiting that year's painting Un battesimo a Cogne (Turin, Galleria civica d'arte moderna e contemporanea). The painting was shown again the following year, along with Pensieri di madre (Mother's Thoughts) and La bottega di Jean Truc a Cogne (both 1897 and of unknown location), at the LVI Exposition of Fine Arts in Turin. In Baptism G. Cena (1897) he detected "a certain imbalance in the different parts [...] and a certain harshness," but also declared that the work's flaws constituted its strength, revealing in the author a "temperament susceptible to an increasingly robust and personal education." The painting would suggest its elaboration by Giani in the animated artistic debate following the first Milan Triennale of 1891": Suona la messa grande by C. Pugliese Levi and Finita la messa (Zoldo Alto) by A. Tavernier (both at the Galleria civica d'arte moderna e contemporanea in Turin) would reveal affinities with Giani's painting the narrative themes and for the rendering of full sunlight. In 1898, Giani sent to the LVII Turin Promotrice other paintings dedicated to the locality of Cogne, all of unknown location, including Aracne rustica (Cogne) reproduced in the exhibition catalog, which testify to his vocation for suggestive luminosity effects, wide-ranging landscape descriptions, mindful of photographic framing and made without renouncing the correctness and meticulousness of drawing deeply assimilated from his academic teaching: Indeed, from Gamba and Gastaldi, as from his father's proximity, he derived "refined and somewhat delayed means of language." In 1903 he participated in the Venice International Biennial, an exhibition in which he took part continuously until 1926, while at the Turin Promotrice and the exhibitions of the Circolo degli artisti in the same city he continued to exhibit until the year of his death. In 1905 Thovez pointed out acutely how Giani's production was being characterized by a moderate adherence to the demands of renewal, as witnessed by the painting Waiting for the procession, identifiable with Festa grande of 1905 (Udine, Museo civico), executed during a stay spent in his father's village, Cerano d'Intelvi (Como), making many inhabitants of the Cerano community of the time the protagonists of the scene. Thovez (1905) notes how the artist, "struck by a violent contrast of colors," had made it the subject of the painting after being induced to meditate on the "brilliant glaze of certain colorations obtained by foreign artists" observed at the 1903 Venice Biennale. But he also adds that the author had worked "without any use of pointillism"; in this way Thovez marks the boundary between the artist's fidelity to his own pictorial tradition of belonging and the unattempted adoption of a pointillist language, ferment and research contemporary to him, belonging to the experimentalism of other artists gravitating in the Lombardy-Piedmont area. In 1901, in an article that appeared in the Giornale d'arte, G. Cena had praised the painting I casolari del Breuil (location unknown), calling the painter a "sincere and strong paesista," but then accused him of "disregarding his fundamental qualities" at a time when he no longer drew inspiration from direct observation of man and nature and preferred to devote himself to genre painting and sentimental sketches. As early as the beginning of the twentieth century, Giani became famous and won wide public acclaim through an extensive genre production: "celebrations of courtyards, cloisters and manors [...] of parish libraries with books, furniture, fake flowers, eighteenth-century pendulums, well-framed oleographs," wrote the anonymous writer of an article that appeared in the Gazzetta di Venezia (Dec. 17, 1937). Little appreciated by the most recent critics, as well as by his contemporary admirers such as Thovez (1911), this illustrative line also had admirers (M. Bernardi, for example) who appreciated the authentic sentimental vein, the romantic and "Gozzanian" spirit of the reconstructions of a small ancient world. Giani's production also included, however, examples of a portraiture not free from intense characterization: this is the case with My Mother of 1903 (Turin, Galleria civica d'arte moderna e contemporanea). The first purchases of the artist's works by public institutions were oriented precisely toward neo-secentury genre painting or toward his characteristic sentimental sketches: on the occasion of the purchases made at the 1901 Promotrice for the Galleria civica d'arte moderna in Turin, the painting Farfalla bianca (1901) was chosen; the work, depicting a dancer caught in a moment of rest at the bar, turned out to be "very insignificant" for Cena, who had spoken in favor of the Casolari del Breuil. Favor with the public was also sanctioned by purchases by royalty or prominent figures in Turin society: Queen Margherita in 1906 bought Morning of Roses; in 1919 Giovanni Agnelli, at that year's Turin Promotrice, bought Anticamera: the house of his grandfather, for the already lowered but still very high price of 8500 lire. In 1909 t [...]
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(Torino 1866 - 1936)
Cm 77x123 | In 30.31x48.43
Oil on canvas
He was born in Turin on Jan. 11, 1866, to Giuseppe, a painter, and Giuseppina Giani, daughter of impresario P. Giani, Giuseppe's benefactor (but not relative). From 1881 to 1886 he attended the Accademia Albertina, at which his father taught, taking the figure drawing course taught by E. Gamba and the painting course taught by A. Gastaldi. In the course of his studies he was awarded prizes in the "annual competitions": in 1885 he brought back the third prize, silver medal ex aequo with G. Robba, in the fifth class test of painting with a Figure istoriata dal vero: Odalisca; in 1886 he won the second prize, gold medal of 200 lire, in the triennial painting competition with a composition having as its theme a Sagrifizio at the time of the Inquisition (both works are of unknown location). In 1883 he participated for the first time in the annual exhibition of the Society for the Promotion of Fine Arts in Turin, where he exhibited D'ordine superiore (location unknown); the following year he exhibited Dal vero there, which, although traces of it have been lost, would seem to testify to his adherence to a verist brand of research. He achieved a decisive affirmation in 1887 when the painting A giornata finita (location unknown), presented at the Promotrice, was reproduced in chromolithography on the Album of the Society, and was purchased by V. Grubicy. In that period he turned out to be one of the young artists "of more than dignified standing" whose pictorial production drew inspiration "from the themes and modes that had recently established themselves in painting in the Piedmont area: veristic landscape painting and the modern genre scene, or more rarely in costume, executed with perfect diligence"; a fact peculiar to the regional artistic scene in the second half of the century, and a characteristic feature of Giani's art, is the integration of "landscape and figure," no longer understood as "separate and opposite genres." Throughout the 1990s he devoted himself mainly to the study of the landscape and people of the Intelvi valley, his father's place of origin, the Biellese and the Val d'Aosta. It is perhaps to be understood as a sign of his convinced orientation, at that time, toward veristic descriptions of the environment, the episode relating to 1890-91, when Giani having participated in the competition for the artistic boarding school in Rome, together with N. Fava, G. Pellizza and C. Saccaggi, was deemed eligible for the performance of the test centered on the theme Samson the Prisoner, and later withdrew. In 1891 he participated in the Brera Triennale, obtaining, together with C. Follini and A. Rossi, a recommendation from L. Chirtani in the Illustrazione italiana. In 1896 he participated in the "Festival of Art and Flowers" exhibition in Florence, exhibiting that year's painting Un battesimo a Cogne (Turin, Galleria civica d'arte moderna e contemporanea). The painting was shown again the following year, along with Pensieri di madre (Mother's Thoughts) and La bottega di Jean Truc a Cogne (both 1897 and of unknown location), at the LVI Exposition of Fine Arts in Turin. In Baptism G. Cena (1897) he detected "a certain imbalance in the different parts [...] and a certain harshness," but also declared that the work's flaws constituted its strength, revealing in the author a "temperament susceptible to an increasingly robust and personal education." The painting would suggest its elaboration by Giani in the animated artistic debate following the first Milan Triennale of 1891": Suona la messa grande by C. Pugliese Levi and Finita la messa (Zoldo Alto) by A. Tavernier (both at the Galleria civica d'arte moderna e contemporanea in Turin) would reveal affinities with Giani's painting the narrative themes and for the rendering of full sunlight. In 1898, Giani sent to the LVII Turin Promotrice other paintings dedicated to the locality of Cogne, all of unknown location, including Aracne rustica (Cogne) reproduced in the exhibition catalog, which testify to his vocation for suggestive luminosity effects, wide-ranging landscape descriptions, mindful of photographic framing and made without renouncing the correctness and meticulousness of drawing deeply assimilated from his academic teaching: Indeed, from Gamba and Gastaldi, as from his father's proximity, he derived "refined and somewhat delayed means of language." In 1903 he participated in the Venice International Biennial, an exhibition in which he took part continuously until 1926, while at the Turin Promotrice and the exhibitions of the Circolo degli artisti in the same city he continued to exhibit until the year of his death. In 1905 Thovez pointed out acutely how Giani's production was being characterized by a moderate adherence to the demands of renewal, as witnessed by the painting Waiting for the procession, identifiable with Festa grande of 1905 (Udine, Museo civico), executed during a stay spent in his father's village, Cerano d'Intelvi (Como), making many inhabitants of the Cerano community of the time the protagonists of the scene. Thovez (1905) notes how the artist, "struck by a violent contrast of colors," had made it the subject of the painting after being induced to meditate on the "brilliant glaze of certain colorations obtained by foreign artists" observed at the 1903 Venice Biennale. But he also adds that the author had worked "without any use of pointillism"; in this way Thovez marks the boundary between the artist's fidelity to his own pictorial tradition of belonging and the unattempted adoption of a pointillist language, ferment and research contemporary to him, belonging to the experimentalism of other artists gravitating in the Lombardy-Piedmont area. In 1901, in an article that appeared in the Giornale d'arte, G. Cena had praised the painting I casolari del Breuil (location unknown), calling the painter a "sincere and strong paesista," but then accused him of "disregarding his fundamental qualities" at a time when he no longer drew inspiration from direct observation of man and nature and preferred to devote himself to genre painting and sentimental sketches. As early as the beginning of the twentieth century, Giani became famous and won wide public acclaim through an extensive genre production: "celebrations of courtyards, cloisters and manors [...] of parish libraries with books, furniture, fake flowers, eighteenth-century pendulums, well-framed oleographs," wrote the anonymous writer of an article that appeared in the Gazzetta di Venezia (Dec. 17, 1937). Little appreciated by the most recent critics, as well as by his contemporary admirers such as Thovez (1911), this illustrative line also had admirers (M. Bernardi, for example) who appreciated the authentic sentimental vein, the romantic and "Gozzanian" spirit of the reconstructions of a small ancient world. Giani's production also included, however, examples of a portraiture not free from intense characterization: this is the case with My Mother of 1903 (Turin, Galleria civica d'arte moderna e contemporanea). The first purchases of the artist's works by public institutions were oriented precisely toward neo-secentury genre painting or toward his characteristic sentimental sketches: on the occasion of the purchases made at the 1901 Promotrice for the Galleria civica d'arte moderna in Turin, the painting Farfalla bianca (1901) was chosen; the work, depicting a dancer caught in a moment of rest at the bar, turned out to be "very insignificant" for Cena, who had spoken in favor of the Casolari del Breuil. Favor with the public was also sanctioned by purchases by royalty or prominent figures in Turin society: Queen Margherita in 1906 bought Morning of Roses; in 1919 Giovanni Agnelli, at that year's Turin Promotrice, bought Anticamera: the house of his grandfather, for the already lowered but still very high price of 8500 lire. In 1909 t [...]
Women painted in the 19th and 20th Centuries - Italian Fine Art
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