Gino Severini

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Severini, Gino


Born Apr. 7, 1883, in Cortona, Tuscany; died Feb. 27, 1966, in Paris. Italian painter.

Severini, who did not have a formal art education, took up painting in 1901, after becoming close friends with U. Boccioni and G. Baila in Rome. From 1906 his principal place of residence was Paris. Severini was one of the founders of futurism (1910). His futurist paintings convey a sense of dynamic movement through the combination of episodes that take place at different times and through the use of a mosaic-like technique derived from neo-impressionism. Severini combined this dynamism contradictorily with a rationalistic composition and color scheme and with precise form (La Danse du Pan-Pan à Monteo, 1910–11, Museum of Modern Art, New York). Severi-ni’s work showed abstract tendencies in the second decade of the 20th century and at the end of the artist’s life. Cubist qualities were evident between 1915 and 1920 and in the 1930’s. On the whole, Severini worked in the spirit of neoclassicism. His extremely subjective striving to create forms of the “art of the future” that were “elevated above” real life constantly led him to distort and vulgarize motifs from reality.


Modernizm: Analiz i kritika osnovnykh napravlenii (collection of articles), 2nd ed. Moscow, 1973.
Courthion, P. G. Severini, 3rd ed. Milan, 1946.
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Impacta finalmente la pleyade de artistas respresentados: Pierre Bonnard, Henri Matisse, Andre Derain, Mana Blanchard, Gino Severini, Fernand Leger, Albert Gleizes, Georges Braque, Pablo Picasso, Robert Delaunay, Francis Bacon, Olivier Debre, Pierre Soulages, que entablan un dialogo fluido con el Dr.
As things stand, I'll be over there to ride a couple for Fozzy Stack, namely Sirici and Gino Severini, who will line up in the Queen Mary and mile and a half handicap on Wednesday and Thursday respectively.
Dances a la source [II] (Dances at the Spring [II]), 1912, to cite one famous example, fuses the Analytical Cubism of Picasso's Three Women, 1908, with the crazy-quilt semaphore of Gino Severini's Dynamic Hieroglyphic of the Bal Tabarin, 1912.
He looks more than good enough to win at this level, which earns him the vote over Gino Severini.
(3.) Umberto Boccioni, Carlo Carra, Luigi Russolo, Giacomo Balia, Gino Severini, 'Technical Manifesto of Futurist Painters', in Lawrence Rainey, Christine Poggi, and Laura Wittman (eds.), Futurism: An Anthology, New Haven, 2009, pp.
Curator Carol Sisi has a special interest in the impact of wider European artistic developments upon regional Italian painters of the 20th Century and his influence on the exhibition lies behind the rich assemblage of works by Italian artists: Giuseppe Chiti, Gaetano Previati, Giovanni Costetti and Gino Severini to name but a few.
Podemos verlo en las geometricas pinceladas que fragmentan el autorretrato (5) de Gino Severini (1883-1966): un rostro dividido en multiples partes que pretenden cambiar las formas de entenderse o verse a si mismo, no solo mostrando lo visible sino haciendo visible aquello invisible.
Before this turn toward fascism, however, the artists Umberto Boccioni, Carlo Carra, Luigi Russolo, and Gino Severini aligned themselves with Marinetti, signing the separate "Manifesto of Futurist Painters" in 1910 (7).
Si bien en Europa fueron escasos sus seguidores --Paul Signac el mas notorio, quien sin embargo pronto derivo de los minusculos puntos a pequenos cuadrados de color; Camille Pissarro, que en los anos ochenta experimento brevemente con el puntillismo, como se advierte en su obra "La Calle Saint-Honore despues de Mediodia"; y Gino Severini, con "Expansion Esferica de la Luz Centrifuga"--, en America Latina su influencia fue practicamente inexistente.
Como sea, la discusion inspiro a Gino Severini obras tan notables como Canon en accion, Sintesis plastica de la idea: guerra y Tren blindado en accion, que mezclan elementos futuristas con toques realistas (en los cuadros de Severini los letreros de los negocios, por ejemplo, se leen con toda claridad, cosa que no sucede en las obras de otros futuristas).
Italian Futurists such as Giacomo Balla and Gino Severini integrated some of the principles of Cubism and Divisionism in creating images that glorified the energy and speed of modern life.
There are two linear drawings by the Futurist Gino Severini which are clearly influenced by Picasso's style of the early 1920s (a frustration of this exhibition is that few of the exhibits are dated), but mostly these works are by the first wave of British modernists - Paul Nash, CRW Nevinson, William Roberts, Edward Wadsworth, Percy Wyndham Lewis and the London-based Frenchman Henri Gaudier-Brzeska prominent among them.