|
|
Augusta Stylianou Gallery 
Achille Virgilio Funi (Ferrara, 1890 - Appiano Gentile, 1972) was an Italian painter. Funi, then continue through a period of hesitation and can not decide whether to join fully in the future which does not share the full meaning of the formal desecration. Although Boccioni he had called "one of the greatest champions of the Italian avant-garde painting," he maintained a certain distance from the movement: the interest for the full forms, typical of Cezanne reread by Picasso, attracted him far more than the vortex dynamics Marinetti ( even though his favorite theme was that of speed and penetration of those styles and colors of the overlapping of the figures cut), so that Boccioni wrote that Funis, despite appearances, remained profoundly realistic. But Funi continues to find himself in the group Marinetti at the outbreak of the Great War, enlisting himself in Lombard Volunteer Cyclist Battalion. Returning to Milan finally found that the situation has changed radically: many of his friends have died in war or for the terrible epidemic of Spanish and finds that the clan Marinetti has grafted its revolutionary impulse in a more attentive to the political fact. Beams from the Futurists to tow Combat is a short step. Funi adheres well to the famous meeting in March 1919 in St. Sepulchre's Square in Milan, which formed the foundation of fascism. But even in this second Futurism is an unorthodox Funi: the works of the period show strong attention to formal values, which derive more from Synthetic Cubism casoratiana or metaphysics, that the Futurist dynamism or coloring Fauve (items that are still traceable in his works). In 1923 at the initiative of Lino Pesaro born Margherita Sarfatti and the group of the twentieth century and Funi is one of the founders along with Anselmo Bucci, Leonardo Dudreville, Mario Sironi, Ubaldo Oppie, Emilio Malerba and Peter Marussig. The theory of the group is moving towards a recovery of the classic Italian tradition revisited in light of the experiences of the avant garde of the early century. His female figures, still lifes, portraits, beyond the express neoclassicistica intake, provide an eclectic range of cultural references, in part related to the artistic tradition of Ferrara (Venus in love, Melancholy, London, Gallery of Modern Art , portrait, Milan, collection Shot). The interest in the figure as the centerpiece and main subject of the work is perfect, along with attention to the craft, the dominant characteristic of classicism in the twenties. It is now off the echo of the Technical Manifesto of Futurist statements (April 1910). Now we talk of "humanity," the centrality of man in the painting. De Chirico seen in the figure the grammar of the language of painting. Severini explicitly acknowledges the pleasure that a person has towards its image, if it is built with rhythms and harmonious proportions. "It is natural that we ask the body of man and woman, when you specify a new humanism," wrote Bean Dell'Arco. Important to his work of mosaic and fresco (fresco decorations for the Triennial of Milan from 1930 to 1940; frescoes in the Temple of Christ the King in Rome, in San Giorgio Maggiore and the Justice Palace in Milan, a large mosaic in the Basilica of St. Peter's in Rome). In the forties teaches painting at the Academy of Fine Arts of Brera, Milan. His pupils were Giuseppe Ajmone, Valerio Pilon, Oreste Carpi. In 1945 he was professor of painting at the Accademia Carrara in Bergamo and afterwards he became the director, succeeding Louis Brignoli. In the fifties back to teach at the Brera. In 1949-1950, the project adheres to the Funis Verzocchi important collection on the theme of the work, by posting, as well as a self-portrait, the work "The Sculptor". Verzocchi The collection is currently stored at the Art Gallery of Forli. Portrait of his sister Margaret, 1913 References Antonella Crippa, Achille Funi, catalog Artgate Cariplo Foundation, 2010, CC-BY-SA. ==--==--==
|
==++==++== |
