Arturo Martini, Per un Dramma di Alpinolo Porcella, Woodcut, Early 20th Century

Details

Description

Alpinolo Porcella is a woodcut print on ivory-colored, realized at the beginning of the 20th century by the Italian artist … Read more Alpinolo Porcella is a woodcut print on ivory-colored, realized at the beginning of the 20th century by the Italian artist Arturo Martini (Treviso, 1889 - Milan, 1947) for a drama by Alpinolo Porcella. In the lower margin, the printed inscriptions with the title and the author: "Per un Damma di Alpinolo Porcella/ Martini de la Valle" (during those years, Martini was used to sign his works with his mother's surname). The State of preservation is good and aged. The artwork represents two figures walking through strong and thick strokes, with a strong primitivism visible in the synthetic line, resembling the Expressionistic style. Arturo Martini (Treviso, 1889 - Milan, 1947) attended the School of Adolf von Hildebrand in Munich in 1909, and in 1912 he moved to Paris where he deepened his knowledge of Cubism and the avant-gardes and where he exhibited at the Salon d'Automne. He took part in the International Free Futurist Exhibition held in Rome in April-May 1914 with the Portrait of Homer Soppelsa, considered a tribute to Futurism. In the same years, he collaborated with the futurist magazine L'Eroica, dedicated to the themes of art, literature and xylography. Then, he approached abstract graphics and created his first sketches in his book Contemplations. The book presents, instead of text, a sequence of geometric signs. Between 1918 and 1922, he collaborated with Mario Broglio to the magazine Valori Plastici, adhering to the homonym artistic movement. Thanks to this experience, he rediscovered ancient sculpture, thus overcoming nineteenth-century naturalism to which he was still attached. Among the important works of this period are La Maternità (1925) and Il Bevitore (1926). In 1925, he was invited to exhibit in a room at the III Roman Biennial; in the following years, he participated for the first time in the Venice Biennial, after former rejections. In the same year, he exhibited at the first exhibition of the Novecento art movement. 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



issues arising from misattribution See less