‘This need for abstraction and for symbols is a characteristic sign of that intensity and rapidity with which life is lived today… Things possess neither integral form nor individual outlines. Tutta l’opera grafica, Libreria Prandi, Reggio Emilia 1982, pp. Limited-Edition Prints by Leading Artists, Natura morta con strumento musicale a fiato e coppa di frutta, 1928-29, Nature morte avec mandoline et deux colombes, circa 1930. Severini deeply admired Seurat, and found in this scientific and methodical application of colour, a means of attaining the abstract sensation of incessant movement; he recalled, ‘I thought that the Neo-Impressionist technique considered in the broad sense in which I interpreted it, extended to form, would allow me to achieve effects of movement, never yet attempted, and a more pronounced lyricism’ (Severini, op. He recalled this spectacle, writing, ‘There were also the can-can dancers who rushed in with their quadrilles after every two regular dances. signed 'G.Severini' (lower right); signed again and inscribed 'Paris G.Severini' (on the reverse) Acquired from the above by the present owner. Under dazzling electric spotlights, dancers performed the latest, fashionable styles of dance – such as the Argentine tango, Cake Walk and Bear dance – to packed audiences of nocturnal revellers; a riotous frenzy of movement, rhythm and noise that enthralled Severini, serving as a visual encapsulation of dynamism and simultaneity, and of modernity itself. The dancer occupied a principle position in Severini’s art during his Futurist years in Paris. This work is moreover the largest and most elaborately constructed that Severini ever created in this medium. They seemed dressed like all the other women until they raised their skirts during their dance. Private collection, Italy, by whom acquired from the above in 1972. 1915 Provenance the artist, Paris (1915–17; shipped in October 1916 to New York, valued at Fr 600; left on June 22, 1917 with Stieglitz; possible gift in summer 1917 to Stieglitz); Alfred Stieglitz, New York (1917–d. cit., p. 54). cat., London, 1913, in M. Drudi Gambillo & T. Forti, Archivi del Futurismo, Rome, 1958, p. 113) Painted circa 1957, Danseuse presents one of the central motifs of Gino Severini’s oeuvre: dance. Sparkling on the canvas, the facets of radiant colour in Danseuse seem to evoke the electric lights under which the dancer is performing, her arms and legs moving in an effervescent and dynamic whirl of colour and form in this abstract vision of dance. Inscription: Signed (bottom point of diamond): G. Severini; signed, dated, and inscribed (verso): Gino Severini/ "Danseuse—Hélice—Mer"/ Paris. Curator Aric Chen selects highlights from Design Miami/ Podium: America(s), a thematic exhibition running alongside the tech enabled art air, The visually supercharged world of the Japanese artist loved by A-listers and inspired by everything from anime to Edo period woodcuts, According to specialist Stephen Jones, Natalie and Dr Marvin Gliedman collected ‘for the sheer love of it’ — including works by Noguchi, Calder and Diebenkorn, Our updated guide takes you through the shows that have been extended and postponed this year, from Christo in Paris to Artemisia Gentileschi in London, The jeweller Frédéric Boucheron opened his first shop in the arcades of the Palais Royal, Paris; more than 160 years later, the maison he founded is a world leader, The emergence of lyrical abstraction in postwar France, iIllustrated with key works by Georges Mathieu, Zao Wou-Ki and Chu Teh-Chun. When caught under bright spotlights, all you could see was a blur of contrasting blacks and whites, a splendour of greys in a whole range of purples, greens and blues’ (Severini, The Life of a Painter, New Jersey, 1983, p. 54). Follow. Bibliography:F. Meloni, Gino Severini. The staccato dots of radiant, jewel-like colour in the present work create a glittering effect that radiates out from the centre of the composition, creating a visual sense of dynamism and flux. This Danseuse marks a crucial juncture in the development of Severini’s Futurism, in 1914 on the eve of the First World War. Around 1916 his emphasis shifted from deconstructing forms to imposing geometric order on his compositions, and he would later experiment with a Neoclassical figurative style, producing mosaics, murals, and frescos, as well as designing sets and writing. More than his Futurist peers, the Italian artist associated dynamism not solely with the innovations of modern machines and new technology, but also with the urban spectacle of the cosmopolitan metropolis: the frenetic and pulsating vibrancy of modern life that could be found particularly in the bars, cafés, cabarets and music halls of the French capital. oil on canvas Rose Fried Gallery, New York. Painted during the Winter 1914-15 From this year onwards, Severini returned to the theme of dance, painting a series of abstract works, such as Danseuse, which depicts not the figure of the dancer herself, but instead conveys a sense of dynamism and movement with a profusion of fragmented facets of colour. Severini depicted these dancers in an increasingly abstracted style, breaking the figure and its setting down into an array of interpenetrating volumes and lines, with just-legible signs and symbols: the elaborate folds of a dancer’s swirling skirt, a glimmer of a hair decoration, or the black trousers of her male partner. 965, p. 563 (illustrated). A frequent theatergoer, Severini often painted still lifes with musical instruments and scenes from the Commedia dell’Arte. He wanted to convey not a representational illustration of the dancer, but instead capture the non-visual aspects of the scene: the rhythms, impulses and movements and the spectator’s own experience of the performer. For much of his life he divided his time between Paris and Rome. Gino Severini (1883-1966) Danseuse signé et titré 'Gino Severini "Danseuse"' (au revers) huile sur toile 55 x 45.7 cm. Premio Nazionale di Pittura of the Accademia di San Luca, Rome. cat., London, 1913, in M. Drudi Gambillo & T. Forti, Archivi del Futurismo, Rome, 1958, p. 113) cat., Venice, 2001, p. 15). Hand signed. While closely associated with the Futurist movement, Gino Severini’s artistic style metamorphosed several times throughout his career. Studying in Rome from 1899 to 1906, and moving to Paris after that, Severini served as an intermediary between Futurists in Italy and the Parisian avant-garde. •. Painted circa 1957, Danseuse presents one of the central motifs of Gino Severini’s oeuvre: dance. D. Fonti, Gino Severini, Catalogo ragionato, Milan, 1988, no. Italian, 1883–1966. cat., London, 1913, in M. Drudi Gambillo and T. Forti, Archivi del Futurismo, Rome, 1958, p. 115); concepts which he elucidated a year later in his 1914 manifesto, Plastic Analogies of Dynamism: Futurist Manifesto. Gino Severini (1883-1966) Peint durant l'hiver 1914-15 signed and titled 'Gino Severini "Danseuse"' (on the reverse) oil on canvas 21 5/8 x 18 in. Here the artist has pared down his subject, employing only a few tell-tale signs—half of a black hat, the kick of a blue-stockinged leg, and, as in various oil … The word “ambience” implies the word “atmosphere”. Painted circa 1957. While closely associated with the Futurist movement, Gino Severini’s artistic style metamorphosed several times throughout his career. Artist's Resale Right ("Droit de Suite"). Severini stated: ‘I would like my colours to be diamonds and to be able to make abundant use of them in my pictures so as to make them gleam with light and richness’ (Severini quoted in D. Fonti, Gino Severini, The Dance 1909-1916, exh. Upon moving to Paris, Severini’s paintings became increasingly abstract as he embraced Synthetic Cubism—essentially constructing a composition out of fragments of objects—drawing influence from Pablo Picasso and Georges Braque, as well as the writer Guillaume Apollinaire, whose company he kept. Many years later, in 1950, Severini’s daughter was training to be a ballet dancer and he began to draw her pirouettes, enchanted once more by the sense of rhythmic movement of the figure in motion.
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