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.

REFERENCE

Barbantini, N. G. Segantini. Venice[1945].
References in periodicals archive ?
He repeatedly alludes to Rudolf Roller's The Gotthard Post (1873), and his Maternity (undated) refers to The Two Mothers (1889) by Giovanni Segantini.
The Punishment of Lust - Giovanni Segantini Painted in 1891, this is one of the first symbolist works by the Italian artist.
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).
The movement was centred in Milan, the modern and dynamic power-house of the Italian economy, and around one gallery in particular, the Galleria Fratelli Grubicy, which from the early 1880s took on young Lombard artists such as Giovanni Segantini, Angelo Morbelli, Gaetano Previati and Emilio Longoni.
Mirroring his peripatetic existence, his painting style at various times borrowed from a hatchwork of neo-impressionism (Giovanni Segantini), German expressionism (Paul Klee, Wassily Kandinsky, Franz Marc), French post-impressionism (Paul Cezanne), and Symbolism.
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." This show included a series of three-dimensional masses in bright white marble that reproduced the mountains around Engadine.
After a brief trip to Paris in the mid 1890s, Falchetti returned to Italy and became a follower of Giovanni Segantini, from whom he derived his technique of threadlike Divisionist brushstrokes, characterised by the juxtaposition of stripes of pure colour applied on the canvas without being previously mixed on the palette.
A leading Italian Post-Impressionist, Giovanni Segantini (1858-1899) was part of the movement known as Divisionism.