Giovanni Segantini

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Segantini, Giovanni


Born Jan. 15, 1858, in Arco, Trentino-Alto Adige; died Sept. 28, 1899, in Schafberg, near Pontresina, Switzerland. Italian painter.

Segantini began his studies at the Milan Academy of Fine Arts in 1876. He moved to Switzerland in 1885. Although he used the technique of divisionism, Segantini painted precisely outlined shapes. Influenced by J. F. Millet, he depicted scenes of rural labor and life in a poetic, sometimes rather sentimental fashion, giving them social Utopian meaning. Segantini also executed majestic landscapes of the foothills of the Alps (Two Mothers, 1890, Gallery of Modern Art, Milan; and the triptych The Alpine World, 1896–99, Segantini Museum, St. Moritz). The influence of symbolism can be seen in his later works.


Barbantini, N. G. Segantini. Venice[1945].
References in periodicals archive ?
The Punishment of Lust - Giovanni Segantini Painted in 1891, this is one of the first symbolist works by the Italian artist.
The painting Spring in the Alps (1897) belongs with the late, large landscapes and symbolist works that Giovanni Segantini (1858-99) was able to sell to famous museums and collectors in his lifetime, even though his paintings were regarded as the most expensive of their period and achieved exorbitant prices.
I Art has long been an integral part of the Engadine, its gentle pastures and mountain panoramas immortalised in paintings by local artists Giovanni Giacometti (1868-1935) and Giovanni Segantini (1858-1899).
In St Moritz, after walking clean streets filled with shops selling all the most expensive designer gear, you could take in a little culture at the small museum dedicated to the town's nineteenth century artist superstar Giovanni Segantini or take a bus into the mountains to the start of the cresta and bob sleigh runs.
Crosses, Christ figures, church interiors, clergymen performing rituals, people in prayer, prophets and pietas not only figure in the work of outspoken late-19th century catholic artists such as Giovanni Segantini (Kissing the Cross, 1882-83), Antoon Derkinderen (High Mass, 1886-87), James Ensor (The Entry of Christ in Brussels, 1898) and Jan Toorop (Sketch for a Resurrection, nd), but also in the work of later artists such as Arnulf Rainer (Cross, 1980--86) and Marc Mulders (Foundation in Christ, 1987) and contemporary artists such as Erzsebet Baerveldt (Pieta, 1992), Mike Kelly (Switching Marys, 2005), Julian Schnabel (Gogoltha, 1980) and Bill Viola (The Greeting, 1995).
A love for places from the artist's own life and the evocative power that these convey were also seen in the exhibition in Milan, entitled "Voglio mostrare le mie montagne" (I want to show my mountains), echoing Giovanni Segantini and Joseph Beuys, both of whom said "I want to see my mountains.
A leading Italian Post-Impressionist, Giovanni Segantini (1858-1899) was part of the movement known as Divisionism.
In addition to Constantin Brancusi and Richard Serra, next year the foundation will present the great divisionist landscape painter Giovanni Segantini and contemporary Brazilian painter Beatriz Milhazes.
And works by Nineteenth Century Swiss masters such as Arnold Bocklin, Ferdinand Hodler, Albert Anker, Felix Valloton or Giovanni Segantini all have a place of honour in the collections of renowned museums.
Inevitably, it begins with Giovanni Segantini, not only the single Divisionist to achieve and maintain some sort of reputation outside Italy, but also the first Italian painter to adopt a recognisably Divisionist approach to painting.
Among the deceased Swiss rounding out the poll's "top 10" (behind Dunant, Durrenmatt, Pestalozzi, and Giacometti) are: (at number 5) illustrator Alois Carigiet, (6) novelist Jeremias Gotthelf, (7) painter Giovanni Segantini [technically an Italian immigrant who lived and painted in the Grisons for years], (8) painter Albert Anker, (9) novelist-playwright Max Frisch, and (10) architect LeCorbusier.