Arturo Ciacelli, Floreale No.2, Oil on Canvas, 1935, Framed

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Arturo ciacelli (arnara, 1883 - venezia, 1966) florale n.2, 1935 oil on canvas 58x37 cm signed and dated lower left … Read more Arturo ciacelli (arnara, 1883 - venezia, 1966) florale n.2, 1935 oil on canvas 58x37 cm signed and dated lower left "ciacelli - 35 -" on the reverse, cartouche of the galleria annunciata, milan; handwritten inscription bearing the title of the work and the date in 1905 he participated with five paintings in the first "salone dei rifiutati" (catal., rome 1905, pp. 5, 7) with balla, boccioni, severini and others. In february 1909 he resumed attending free courses at the academy of fine arts, where he met the swedish painter elsa ström (14 february 1876-5 december 1952) whom he married in rome on 7 october of the same year; in 1910 he moved to sweden and in the same year he exhibited in the oden galleries in stockholm and engelbrekt in malmö. In 1911 he stayed in paris where he frequented r. Delaunay's studio and experienced "the enthusiasm of the first cubist movements in fraternal collaboration with the painters delaunay, léger, braque, chagall and others" and where he was in contact with the first italian futurists. As he himself later noted, this first period "was not futurist, but of a synthetic realism, that is, one that tended towards the abstract rather than the real". Returning to sweden, he held his first solo exhibition (exposition a. Ciacelli, paris-italie-suède, catal.) in the gallery of the university of lund (january 14 - february 4, 1912), presented by the poet gian maria cominetti. In the catalog (a. Ciacelli futuristutställning), in addition to an interview by haagen falkenfleth with the painter (also published in the nationaltidende of copenhagen on 29 may 1912), the swedish translation of the manifesto of futurist painters is also provided, to which ciacelli added the signature (postoch inrikes tidningar [stockholm], 5 apr. 1913). From 1915 to the end of the third decade stockholm was the center of ciacelli's activities. From 1915 to 1920 he was director of the nya konstgalleriet: in strandvägen, n. 9, stockholm's first modern art gallery. Among the artists launched in sweden by nya konstgalleriet were robert delaunay, sonia delaunay terk, van dongen, dufy, léger, ozenfant, picasso, rouault, vlarninck, kandinski and severini. Ciacelli also organized music evenings (from palestrina to debussy) and experiments in "colour concerts" with color films created by him in the nya konst galleries. In february 1928 ciacelli exhibited in stockholm, together with his wife elsa ström, in the branch of the svensk-franska konstgalleriet (dagens nyheter, 14 february 1928; stockholms dagblad, 14 february 1928). In the same year he exhibited in berlin. Soon after he left sweden to settle in paris. His name is found for the last time in katalog 84 b of the svensk-franska konstgalleriet of april 1930, which lists the works donated by one hundred and seventy-five swedish artists to the lottery "for the unfortunate of the flooded regions of france" (n. 39: place du tertre, paris, watercolor). Ciacelli remained in paris until 1933, in a "fertile period" for his pictorial activity, participating in the futurist exhibition in 1929; italian art at the cercle des artistes français; 1931-33: salon des tuileries; 1930 and 1932: personal exhibitions in the "23" gallery, studio 28 and "epoque nouvelle". Ciacelli took part in the 1930 venice biennale with the futurist group. In 1934 he exhibited at the 1st national exhibition of mural plastic for fascist building in genoa; the following year marinetti presented a solo exhibition first in turin and then at the dinesen gallery in rome: in this way he became "an active exponent of the second half of futurism" (ballo, 1964, p. 45). In 1959 he participated in the viii national art quadrennial in rome. Ciacelli died in venice on july 6, 1966. The frame in which it is presented is non original, but it's a good reproduction of a xvii century florentine frame. Obviously it is included in the sale this piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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