Modern Painting P. Carena Oil on Cardboard Italy 1950s-1960s - Philosopher

Trees in the Snow, 1978

Oil painting on canvas. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 73 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The lake landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a style frame. It is published on page 75 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Via di paese, 1941

Oil painting on canvas. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 59 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The view of the town well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Controluce collinare, 1960

Oil on cardboard. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production painting by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

L'ora delle Messi, 1974

Oil painting on canvas. Signed and dated lower left. The painting, coming from a private collection in Pavia, is published on page 74 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The hilly landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame

Mixed technique on paper. Signed lower right. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production is portraiture, which nevertheless expresses his ability to use color as a delicate transparency, which brings out the effects of light and shadow generated by human expressions even in the faces. The work is presented in a frame.

Before Dinner 1970

Oil on hardboard. Signature, date and title top right. Udo Toniato, a naive painter, is known for his works that tell the story of his homeland, the Bassa del Po, with its characters. Here he depicts three little priests who, armed with umbrellas to protect themselves from the sun of the Bassa, head towards the votive chapel on the country road, observed by an amused goat, for the last prayers of the day. The work is presented in a frame.

Sardines Fishing

Multiple bas-relief in silver. Signature engraved at the bottom. On the back, label of the "Alla Chiave" Gallery in Mestre, with the number of the specimen 140/200, and photo of the artist at work. Giuseppe Migneco, originally from Messina but who moved to Milan at a young age, was one of the major representatives, together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, of the Corrente group open to the European artistic avant-garde. In favor of a painting of social commitment, he investigates reality with a critical, objective, historical eye. His characters with hard, square faces, marked by hard work and rendered with bright and strong tones, recall his Sicily with violent and clear features, but also the social realism of the Mexican muralists. In frame.

Female Face 2001

Oil painting on canvas. Dated and signed on the back. Born in Seregno, Danilo Martinis was trained with Osvaldo Minotti. Painter and designer, he has furnished prestigious residences all over the world, his works are particularly appreciated in the United Arab Emirates and in Russia. He loves to express his thoughts through graphic-figurative images rendered through geometric effects and chromatic games, using mainly female figures as interpreters. In this work he proposes a close-up of a female face, enhancing its expressiveness through the play of colors in the ranges of yellow.

Oil painting on canvas. Portrait of a young gentleman. It has several color drops. It is presented in a contemporary lacquered frame.

Sad Village

Oil painting on canvas. Signed lower left. On the back on the frame the title in pencil. The Sienese artist Guido Ferroni, after an impressionist debut, arrived at a painting with intimate tones, characterized by a reduction of the chromatic ranges and an atmosphere of calm village everyday life, linked to the Tuscan tradition. The painting is presented in a contemporary gilded frame.

Vecchia Ciociara 1910

Pastels on paper. Signed and dated lower right. On the back there is a cartouche with the title and label of the Bolzani Art Gallery in Milan. Antonio Mancini was a realist painter, trained at the Neapolitan school of Morelli and Palizzi and later in Paris. He mainly dedicated himself to portraiture and genre scenes of popular or anecdotal taste, but while in an initial period he was close to nineteenth-century naturalism which led him to portray popular figures permeated with sadness (his street urchins), in a subsequent period he began to experiment different techniques, resorting to vivid flashes of light, placed on the canvas in lumps of violent color and bright flows, even reaching the use of extra-pictorial materials, such as colored glass, and proposing agitated figures, sometimes in imaginative disguises, an expression of his forte mental distress. This drawing, which belongs to the later production, presents the face of an elderly woman, (Ciociara by title), depicted in profile and surrounded by splashes of color that create a nuanced and lively halo. The work is presented in a contemporary frame (with small defects).

Amarici (Etiopian Figures) 1930s

Pencil on paper. Signature, title and location lower right. In the second half of the 1930s, Contardo Barbieri left as a volunteer for the campaign in East Africa. From this period there are some works that propose oriental subjects, such as these characters of the Ethiopian people called Amharic because they were natives of Amhara, a region of central-northern Ethiopia where the city of Dessié is located. In frame.