Period Italian Child Portrait Pencil Drawing

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Period Italian Child Portrait Pencil Drawing
Childish face portrait in profile.
A not signed beautiful pencil drawing attributed to the … Read more Period Italian Child Portrait Pencil Drawing
Childish face portrait in profile.
A not signed beautiful pencil drawing attributed to the great artist Giuseppe Ugonia (Faenza, 25 July 1881 – Brisighella, 5 October 1944), depicting with rare intensity a profile portrait of a child facing left.
Ugonia often loved to portray children's faces and children at play or with their families, inspired by his love for his daughter and his bond with his own family and the values associated with it.
The features are soft and rounded, typical of a peaceful childhood.
The drawing is done in pencil on paper, with light lines and minimal shading outlining the shape of the face, ear and hair.
The style is realistic and sketchy, focusing on capturing the physical characteristics.
The hair is drawn with fluid strokes.
The expression on the face is very sweet, with the mouth slightly open.
The name “Luigi” is visible in the lower left corner.

This artwork, never before on the market, comes from an important Italian private collection

Giuseppe Ugonia (Faenza, July 25, 1881 – Brisighella, October 5, 1944) was an Italian painter and lithographer.

The son of parents born in Brisighella, little is known about his early life: as his friend Francesco Sapori wrote, "It's impossible to get this reserved artist to talk about himself. He has given no one any information about his childhood."
He attended the School of Arts and Crafts founded by Tommaso Minardi in Faenza, directed by Antonio Berti.
Ugonia soon became part of his so-called "Baccarini circle," evening gatherings attended by this group of artists, all students of the same school, driven by the same artistic fervor, who gathered to draw and engrave, and discuss culture and literature.
In 1908, after four years of study, he graduated from the Academy of Fine Arts in Bologna: during his time in Bologna, he deepened his knowledge of lithography at the Comellini company.
After graduating, he retired to Brisighella, but continued to maintain relationships with important artists and critics such as Adolfo De Carolis and Alfredo Baruffi, as well as Francesco Sapori, with whom he was friends, Vittorio Pica and Ugo Ojetti.
In the early 1910s, he began exhibiting his work (1910, Associazione Internazionale tra i giovani artisti Bernardo Celentano di Napoli).
He was made an honorary member of the London association in 1916, received coveted awards and had numerous works acquired by the British Museum in London.
Despite choosing to live a secluded life, Giuseppe Ugonia did not isolate himself from the main centres of culture and took part in numerous important national events.
In 1912, he took part in the exhibition organised by the magazine “l'Eroica” and in the Black and White Exhibition in Bologna.
In 1914, he participated for the first time in the Venice Biennale and won the gold medal at the International Book and Graphic Arts Exhibition in Leipzig.
His works were seen at various Venice Biennales between 1914 and 1930.
After the end of the war, Giuseppe Ugonia returned to Brisighella and, in the following years, confirming the validity of the awards he had received, he took part in major exhibitions: the 1921 Roman Biennale, Francesco Francia exhibitions in Bologna, the Italian Art Exhibition in Buenos Aires in 1923, the Industrial and Modern Art Exhibitions in Paris in 1924, the Sixth International Printmakers Exhibition in Los Angeles and the International Exhibition in Monza, both in 1925, the Italian Black and White Exhibition in North America in 1926, and the Rome Quadriennale in 1931. 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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