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Pistoja after Previati, nel Tombone di san Marco

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PISTOJA (Active at the end of 19th century) NEL TOMBONE DI SAN MARCO
Photolithography, after Gaetano Previati. Signed in the stone at bottom Previati / Pistoja sc.; 325 x 500 mm.
El Tombon de San Marc (as it was called in the Milanese dialect) was a dock in the Milan canals system that served as a river port but was also famous as a destination for many suicides. In fact the photolithography shows us the recovery of the body of a young suicidal woman.
Gaetano Previati was among the promoters of the publication, in 1896, of the book Il Naviglio, which reproduced a few drawings, related to the Milan canals system, by him and other fellow artists as Gerolamo Induno, Vespasiano Bignami, Luca Beltrami.
The book was intended to raise money for the Pio Istituto dei Rachitici, (now Istituto Ortopedico Gaetano Pini). Here on my website I offer a original pen drawing by Gerolamo Induno which was reproduced in the same publication. However in the case of the dramatic drawing by Previati, much rich in tonality, it was necessary, to reproduce it in printed book, to lighten the intensity of tones with a photolithographic passage that superimposed to the subject a sequence of white lines (see this detail). On this photolithographic background, Pistoja intervened manually to mark the lights of the composition.

Born into a pious family in Ferrara, Previati was predisposed toward the spiritual in art. He first enrolled in the Ferrarese academy in 1870. In 1876, he was in Florence where he studied with Cassioli, and the following year he was in Milan where he took courses at the Brera from Bertini. At first, Previati painted historical subjects in a romantic but naturalistic style. Later, under the influence of Morelli, Cremona and the 'Scapigliati', he developed a freer, more personal style characterized by a patterned impasto and dramatic light. He also studied the works of Rossetti and other Pre-Raphaelites and created overtly spiritual subjects. In the 1880s, Previati designed fourteen illustrations inspired by the writings of Edgar Allan Poe, a project that brought him in contact with Symbolism, and he was influenced by Félicien Rops, Gustave Moreau and Redon as well as writers of the movement. Around 1889, Previati met Vittore Grubicy who served as a catalyst in the artist’s adoption of Divisionism. Alberto Grubicy, Vittore’s brother, held a contract to sell Previati’s work as well as that of Segantini. In 1891, Previati exhibited 'Motherhood' at the Brera 'Triennale', now famous as the first Italian Symbolist exhibition and as the exhibition which introduced Divisionism. A year later, in 1892, Previati exhibited in Paris at Durand-Ruel through his association with Joseph Péladan’s 'Rose-Croix'. Previati was an intellectual who believed that the world was entering a new age and that he needed to prepare other artists. To that end he wrote several books on theory and technique of painting.
We have very few news about Pistoja, who was active as a printmaker and inventor in the late XIX century.

price: 600,00 euros

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