埃米利奥.佩托鲁蒂作品

传记概述

埃米利奥Pettoruti出生在拉普拉塔10月1日,1892年,意大利一个繁荣的中产阶级家庭。Pettoruti的艺术将会影响现代城市的几何布局,“银改变色调的颜色。”Pettoruti只有14岁时,他加入了当地的美术学院,只有辍学后不久,因为他觉得他可以自己了解更多。然后他与埃米利奥•Coutaret研究,建筑师在画学校和教师在自然历史博物馆,在那里他开发了一种风格的漫画肖像。这是其中的一个漫画,特别是Rodolfo Sarrat,留学,为他提供了手段。1913年,他被授予奖学金意大利,在那里他学习了文艺复兴时期的画家弗洛伦斯,包括福拉。安吉利柯,马萨乔,乔托。14他强烈影响的艺术在佛罗伦萨:“古希腊罗马艺术和建筑的不可避免的影响,他的兴趣几何比例的匿名中世纪马赛克艺术家,和平衡的早期文艺复兴绘画他将不可避免地发现他们的方式复制到自己的工作。”

而在欧洲,他与一些欧洲前卫艺术家,发现了越来越多的未来主义风格。他开始阅读Lacerba佛罗伦萨未来学家杂志,包括文学和艺术作品的灵感来自于运动。他遇到了未来学家艺术家,同时展出Herwarth《瓦尔登湖》的Der Sturm画廊柏林。在巴黎,他遇到了胡安体现影响他油漆在立体派风格。所有的利益Pettoruti可以选择追求,他选择艺术他外公后,何塞Casaburi发现他潜在的艺术才能。1913年,从国会议员Rodolfo Sarrat佣金后,Pettoruti前往欧洲学习艺术。垂直城市街道上反复出现的主题在1917年他的艺术,在Mi Ventana en的卡。

在意大利,Pettoruti开发越来越多的欧洲人现代主义,研究了意大利文艺复兴时期的艺术14世纪。1924年,Pettoruti回到阿根廷,希望推广流派在自己的国家。展示在自己的祖国,Pettoruti取得了巨大的成功。在1930年,他被任命为博物馆主任省级de瓶装水在拉普拉塔Artes。他的名声甚至蔓延到北美,1942年,Pettoruti访问旧金山,他第一次美国。这个节目扩大Pettoruti的名字,造成更多博物馆要求他的展览。Pettoruti Maria Rosa冈萨雷斯结婚,后来成为了一个主题在他的许多画作。

Pettoruti决定辞去博物馆馆长,仅限于一个更为保守的方向在总统的政府胡安•庇隆。并且不断骚扰和大学解雇员工,在1952年Pettoruti回到欧洲,继续画画。他写他的自传,联合国Pintor赌注el Espejo(画家在镜子前)巴黎1968年,Pettoruti一直在那里工作,直到逝世10月16日,1971年。

在阿根廷的影响力

当Pettoruti回到布宜诺斯艾利斯,在1924年,欧洲现代主义尚未接受艺术评论家。他的第一个展览并不是广泛受到保守派,然而,关于Pettoruti的作品,他的好朋友Xul太阳能写道:“布宜诺斯艾利斯公众可以欣赏或者鄙视他。但所有人都会承认他的艺术是一个伟大的刺激力和我们自己的未来艺术发展的起点。”他的作品被认为是令人震惊的,因为“高乔人的主题,风景,牛、羊、和马是在那些日子里高兴的是大地主强加他们的品味绘画。”

现代主义和未来主义并没有被广泛接受。当Pettoruti回到了他的祖国,他不是闻所未闻的,因为很多文章已经专门为当地编写阿根廷出版物。Pettoruti创造的作品“坚持对当地的引用,特别是拉丁美洲,在彻底现代的主题,European-inspired文体背景。”尽管他的风格发展的本土文化,布宜诺斯艾利斯更适应现代风格。“布宜诺斯艾利斯,在1920年代,艺术创造力的灯塔为别人打开许多扇门,艺术家和公众,进入新的、未知的领土。”Pettoruti是无限的,现代主义艺术的方法有一个永恒的影响在阿根廷艺术世界。

风格

埃米利奥Pettoruti的工作是“一个原型的现代和谐的概念,,和几何精度,near-scientific在其严重性,但振荡之间的抒情和纯粹的精神。”专注于技术,光、颜色和运动,Pettoruti设法包括和谐在他的作品在他的变化阶段。目睹Pettoruti进步风格后,Xul太阳能写道,“他发展的每个阶段,甚至每一个技术进步,对应于他的灵魂的一个新阶段。”

一开始

Pettoruti的青年,而他发现潜在的艺术才能,他在图纸工作,漫画的人。他创建了一些漫画,足以显示46的展厅在布宜诺斯艾利斯当地报纸。

欧洲早期

而在意大利,Pettoruti受到日益增长的未来主义运动,以及14世纪意大利文艺复兴时期。而他的艺术在不同的时间反映未来,立体派,和抽象的品质,Pettoruti“拒绝任何分类的艺术。”^[13]他不希望自己或他的作品与任何一个特定的运动,因为他是不断改变自己的风格。他曾在他的作品空间和形状,考虑颜色二次在他的画中。Pettoruti也是在几个媒介。他传播戏剧服装艺术人才,集设计和彩色玻璃窗。^[14]他成为感兴趣马赛克,探索潜在的马赛克可能的扩张他的想法。不局限于一个媒介,Pettoruti整合各种材料在垃圾场发现到他马赛克添加纹理和捕捉光线的方式不同。早年作为一个艺术家,他尝试了“解构普通,日常用品,重建他们根据自己的规则,然后投射到自己的艺术宇宙。”^[2]这种艺术方法适用于所有的媒介,包括马赛克和绘画一样。

后来在意大利:政治和艺术

Pettoruti去米兰,1922年,他的作品受到了一些成员的朋友Novecento意大利语。这个群体的代表“意大利艺术的“净化”,re-affirmation传统绘画原则,雕塑,和建筑。”^[15]然而,Sironi Sarfatti,Novecento犬的两名成员,也有影响力的墨索里尼的法西斯主义原则。Pettoruti不适与法西斯主义的兴起可能影响他的决定离开意大利,回到阿根廷。

音乐家和丑角

Pettoruti选择的音乐家是一个反复出现的主题在他的作品开始在欧洲,但他继续代表他们通过1920年代回到布宜诺斯艾利斯。所示的音乐家都是单独或团体,和他们的眼睛总是隐藏起来。音乐家Pettoruti描述有一个文化的联系,因为他们“探戈,直接相关的独特的文化表达阿根廷首都。”这方面的一个例子在他的绘画主题是Quinteto(1927),描绘五街头艺人用抽象立体派风格。1927年,他从代表音乐家转向代表丑角,他们同样一直眼睛覆盖而透过面具。Pettoruti,丑角是“有用的设备代表人类的图,但作为一个匿名的,遥远,广义的形式,而不是作为个体意义上的。”的许多画作Pettoruti工作,他的第一个标题是Arlequin(1928),显示一个小丑戴着面具遮住眼睛,类似手风琴的演奏乐器。

静物画

在他早期的静物画,Pettoruti包括几个类似的主题,包括瓶,眼镜,和经常乐器。随后他搬到国王杯系列,“抽象附近。”这些作品是“由明亮,吸引人注意力的无差别区域的颜色往往趋于平缓。杯子从每一个可能的角度观察,顶部,底部和两边同时代表。”后来在他的静物画,Pettoruti关注光,将它作为一个“具体的元素,”不仅包括场景的照明。他在他的许多使用光明显静物画,像阿根廷索尔(1941),阳光就像“一个重要的生命元素”的显然是一个坚实的绘画效果。

抽象

在他生命的后期,Pettoruti的风格向绝对抽象。1952年回到欧洲后,他的兴趣“的影响模式和设计”变得明显从他“奉献几何,它的模式由锋芒毕露的形状。”他的许多画作由完全的几何构图,当他“信奉非客观绘画的一种形式,集中在颜色和形状控制组织的交际能力。”Pettoruti命名这些抽象与高度浪漫的名字,喜欢冬天在巴黎(1955)和《夏夜》(1953)。

埃米利奥.佩托鲁蒂作品

Biographical Overview

Emilio Pettoruti was born in La Plata, on October 1, 1892, to a prosperous middle-class Italian family. Pettoruti's art would be influenced by the modern, geometric layout of the city, with the "silver color of changing tonalities."^[2] When Pettoruti was only fourteen years old, he enrolled in the local Academy of Fine Arts, only to drop out shortly after because he felt he could learn more on his own. He then studied with Emilio Coutaret, an architect and teacher at the Drawing School in the Museum of Natural History, where he developed a style in favor of caricature portraits. It was one of these caricatures, specifically of Rodolfo Sarrat, that provided him with the means to study abroad. In 1913, he was awarded a travel scholarship to Italy, where he studied Renaissance painters in Florence, including Fra Angelico, Masaccio, and Giotto. He was strongly influenced by fourteenth-century art in Florence: "the inevitable influence of Greco-Roman art and architecture, his interest in geometric proportion of the anonymous medieval mosaic artists, and the equilibrium of the Early Renaissance paintings he copied inevitably found their way into his own work."^[3]

While in Europe, he interacted with several European avant-garde artists, and discovered the growing style of futurism. He began reading Lacerba, a Florentine futurist magazine including literature and artwork inspired by the movement. He met Futurist artists, and also exhibited at Herwarth Walden'sDer Sturm Gallery in Berlin. In Paris, he met Juan Gris, who influenced him to paint in a cubist style. Of all the interests Pettoruti could have chosen to pursue, he selected art after his maternal grandfather, Josè Casaburi discovered his potential artistic talent. In 1913, after a commission from Congressman Rodolfo Sarrat, Pettoruti traveled to Europe to study art. The theme of vertical city streets recurs in his art in 1917, in Mi Ventana en Florencia.^[4]

In Italy, Pettoruti developed a growing sense of European Modernism, and studied Italian Renaissance art of the fourteenth century. In 1924, Pettoruti returned to Argentina, hoping to popularize the genre in his own country. Exhibiting both in his native country and abroad, Pettoruti was a huge success. In 1930, he was named the director of Museo Provincial de Bellas Artes in La Plata. His fame spread even to North America, and in 1942, Pettoruti visited San Francisco for his first major United States show. This show expanded Pettoruti's name, causing more museums to demand his exhibitions. Pettoruti married Maria Rosa González, who later became a subject in many of his paintings.^[5]

Pettoruti decided to step down as director of the museum, which was limited to a more conservative direction during the administration of President Juan Perón. Amid ongoing harassment and dismissals of university staff, Pettoruti returned to Europe in 1952, and continued to paint. He wrote his autobiography, Un Pintor Ante el Espejo (A Painter Before the Mirror) in Paris in 1968, and Pettoruti remained there until his death on October 16, 1971.

Influence in Argentina

In 1924, when Pettoruti returned to Buenos Aires, European Modernism had not yet been accepted by art critics there. His first exhibition was not widely received by conservatives, however, in regards to Pettoruti's work, his good friend Xul Solar wrote that "the Buenos Aires public can either admire or disdain him. But all will recognize his art as a great stimulating force and a point of departure for our own future artistic evolution."^[6] His work was considered shocking since "themes of gauchos, landscapes, cattle, sheep, and horses were in those days the delight of big landowners who imposed their taste in painting."^[7]

Modernism and futurism were not widely accepted. When Pettoruti arrived back in his native country, he was not unheard of, since many articles had been written specifically for local Argentine publications. The compositions created by Pettoruti "insist upon references to local, specifically Latin American, themes within a thoroughly modern, European-inspired stylistic context."^[8] Although his style developed out of his native culture, Buenos Aires adapted much more to his modern style. "He was, for Buenos Aires in the 1920s, a beacon of artistic inventiveness who opened many doors for others, both artists and the public, to enter new, uncharted territories."^[9] Pettoruti's limitless, modernist approach to the arts had an everlasting effect on the art world in Argentina.

Style

Emilio Pettoruti's work was "a prototype of the modern concept of harmony, of order, and of geometric precision, near-scientific in its severity, but oscillating between the lyrical and the purely spiritual."^[10] Preoccupied with technique, light, color, and movement, Pettoruti managed to include harmony in his artworks throughout his changing phases. After witnessing Pettoruti's advance in style, Xul Solar wrote that "each stage of his development, even each technical advance, corresponds to a new stage of his soul."^[11]

The Beginning

In Pettoruti's youth, while he was discovering his potential artistic talent, he worked on drawings and caricatures of people. He created several caricatures, enough to show forty-six at the exhibition hall of the local newspaper in Buenos Aires.^[12]

Early European Period

While in Italy, Pettoruti was influenced by the growing Futurist movement, as well as the fourteenth-century Italian Renaissance. While his art reflected at different times futurist, cubist, and abstract qualities, Pettoruti "rejected any categorization of his art."^[13] He did not want himself or his artwork to be associated with any one specific movement, since he was constantly altering his style. He worked on space and shape in his compositions, considering color secondary in his paintings. Pettoruti also played around with several mediums. He spread his artistic talent to theater costumes, set designs, and stained glass windows.^[14] He became interested in mosaics, exploring the potential mosaics could have on the expansion of his ideas. Not being limited to one medium, Pettoruti incorporated various materials found in garbage dumps into his mosaic to add texture and catch the light in diverse ways. In his early years as an artist, he experimented with "deconstructing ordinary, everyday objects, reconstructing them according to his own rules, and then projecting them into his own artistic universe."^[2] This approach to art applied to all of his mediums, including mosaics and painting alike.

Later Years in Italy: Politics and Art

In 1922, Pettoruti went to Milan, where his artwork was influenced by some friends who were members of the Novecento Italiano. This group desired to represent "a 'purification' of Italian art, a re-affirmation of traditional principles in painting, sculpture, and architecture."^[15] However, Sironi and Sarfatti, two members of the Novecento Italiano, were also influential to the Fascist principles of Mussolini. Pettoruti's discomfort with the rise of Fascism perhaps influenced his decision to leave Italy and return to Argentina.

Musicians and Harlequins

Pettoruti's choice of musicians as a recurring motif in his artwork began in Europe, but he continued to represent them through the 1920s back in Buenos Aires. The musicians are either shown alone or in groups, and their eyes are always hidden. The musicians Pettoruti depicted have a cultural link, since they were "directly associated with the tango, the inimitable cultural expression of the Argentine capital."^[16] One example of this motif in his painting is Quinteto (1927), depicting five street musicians in the abstracted cubist style. In 1927, he switched from representing musicians to representing harlequins, who similarly always had their eyes covered while looking through masks. For Pettoruti, harlequins were a "useful device for representing the human figure, but as an anonymous, remote, generalized form, not as an individual."^[17] Of the many paintings Pettoruti worked on, one of his first is titled Arlequin (1928), showing one harlequin wearing a mask over his eyes and playing a musical instrument resembling an accordion.

Still Lifes

In his early still lifes, Pettoruti included several similar motifs, including bottles, glasses, and often musical instruments. He then moved to his Copa series that was "near abstraction."^[18] These compositions were "composed of bright, non-nuanced areas of color which tend to flatten out the form. The cup is observed from every possible angle, top, bottom, and sides represented simultaneously."^[19] In his later still lifes, Pettoruti focused on light, incorporating it as a "concrete element of the picture,"^[20] not simply including it for illumination of the scene. His use of light is evident in many of his still lifes, like Sol Argentino (1941), where the sunlight acts as "an essential life-giving element"^[21] and is obviously a solid effect to the painting.

Abstraction

In the later years of his life, Pettoruti's style advanced towards absolute abstraction. After returning to Europe in 1952, his interest "in the effects of pattern and design" became apparent from his "dedication to geometry, with its patterns constructed from hard-edged shapes."^[22] Many of his paintings consisted of completely geometric compositions, as he "espoused a form of non-objective painting that concentrated on the communicative power of color and controlled organization of shapes."^[23] Pettoruti named these abstract works with highly romanticized names, like Winter in Paris (1955) and Summer Night(1953).

Significant Artworks

Retrato de Cleto Ciochini (1913), Ink on thin cardboard, Private Collection

El Sifón (1915), Collage, Museo Nacional de Bellas Artes, Buenos Aires [1]

La Grotta Azzurra di Capri (1918), Oil on canvas, Private Collection, Buenos Aires

Pensierosa (1920), Oil on canvas, Córdova Iturburu, Buenos Aires

La Canción del Pueblo (1927), Oil on wood, Malba Museo de Arte Latinoamericano de Buenos Aires [2]

Quinteto (1927), Oil on plywood, Private Collection, Buenos Aires

Arlequín (1928), Oil on canvas, Museo Nacional de Bellas Artes, Buenos Aires

El Improvisador (1937), Oil on canvas, Museo Nacional de Bellas Artes, Buenos Aires [3]

La Ultima Serenata (The Last Serenade) (1937), Oil on canvas, International Business Machines, New York

Sol Argentino (1941), Oil on canvas, Museo Nacional de Bellas Artes, Buenos Aires [4]

Invierno en París (1955), Oil on canvas, Museo Nacional de Bellas Artes, Buenos Aires

Farfalla (1961), Oil on canvas, Museo Nacional de Bellas Artes, Buenos Aires [5]

Exhibitions

In 1915, Pettoruti did his first one-artist show at the Gonelli Gallery in Florence. He showed thirty-five works, including among others, nine drawings, fifteen paintings, and eight sketches for mosaics.^[24]

In 1923, he showed thirty-five works at the Der Sturm Gallery in Berlin, which "elicited positive criticism from several writers."^[25]

In 1924, he did his first one-artist show in Buenos Aires, at the Galeria Witcomb on Florida street. The show, considered scandalous, included eighty-six works. It was not widely accepted because modernism had not yet spread in Argentina like it had in Europe. Pettoruti considered the exposition to be a "rallying cry for those of different vision,"^[26] encouraging Argentines to embrace the new artistic period.

In 1938, Pettoruti showed at the Museo Municipal de Bellas Artes in Buenos Aires at an exhibition titled "Tres Expresiones de la Pintura Contemporanea". The show included works from Pettoruti, Badii, and Spilimbergo.

In 1942, Pettoruti traveled to San Francisco for his first North American show at the San Francisco Museum of Art. The museum bought his Coparmonica(1937) and Quinteto (1927). It was an influential show for his career, since it began his spread in North America, where other museums and private collectors inquired about his work.