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Luigi Conconi, il calar della notte


Etching, Mezzetti 270, before 1902; a fine impression of the only state, richly and skillfully printed in black ink, working on the surface tone with monotypic effects, on soft white wove paper. Signed LConconi in the film of ink left in the plate in wiping. In fine condition. To the platemark 242 x 314 mm, the entire sheet measuring 410 x 455 mm. See M. Bianchi, G. Ginex, Luigi Conconi incisore, Milan, 1994; cat. no. 36.
This print, in Conconi’s intentions, was to be part of the collection of his etchings he was planning to publish, but which never saw the light. See, here on my website, the etching Lo Scorpione.

Luigi Conconi was an architect, painter and illustrator. Born in a Milanese middle-class family, he was the nephew of the painter Mauro Conconi. Luigi studied architecture at the Accademia di Brera and at the Politecnico in Milan, and he used his architectural training occasionally throughout his career. After attending the Politecnico, he became acquainted with the literary and artistic circles of the Scapigliatura: Tranquillo Cremona and Daniele Ranzoni influenced his early paintings. In the 1880s Conconi moved from the Realism of Scapigliatura toward Symbolism, developing an interest in visionary themes. He received international recognition from awards in Paris in 1900 and in Munich in 1913. Conconi was also a skilful and sensitive printmaker, who revived the art of the etching in Lombardy, being the leading exponent of the acquaforte monotipata, an etching printed leaving a surplus of ink on the plate to create evocative effects. Conconi printed personally almost all his own plates.


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