Achille Funi / Brafa in the galleries 2021

BRAFA in the Galleries 2021 is the newly created alternative to the BRAFA fair at Tour & Taxis, which has been postponed to January 2022.

From Wednesday 27 – Sunday 31 January 2021 included, the exhibitors signed up for BRAFA 2021 will welcome you in their galleries, where they will present the objects and artworks they had selected for BRAFA 2021 in the best possible conditions. Some have chosen to group together to display their artworks.

In total, 126 art dealers spread across 13 countries and 37 cities look forward to sharing their passion for the beautiful, the rare, the precious and the historical in a warm, friendly atmosphere, in line with the rules in place in their area. Have a look through the list of participating galleries in order to discover those close to you. You can also download maps that enable you to find all the participating galleries in the town of your choice.

Finally, for all those who can’t visit the galleries in person, we have dedicated a page to each exhibitor on our website. Here you will find photos and descriptions of all the beautiful objects being presented, relevant practical information, and a video created for the occasion. New objects will be put online on Wednesday 27 January 2021!

Start the tour on Brafa website

Laocoon Gallery and W. Apolloni Gallery page: https://www.brafa.art/en/exhibitor-detail/589/w-apolloni-srl

Galleria W. Apolloni e Galleria del Laocoonte
Nuovo Spazio Antico/Contemporaneo, via Margutta 81, Roma.

Monday 16.00-19.00
Tuesday – Friday: 10.00-13.00 and 16.00-19.00
Saturday: 10.00-13.00

Visits by reservation only by calling 06 68308994 or via virtual tour

Patrick Alò, Mitologia Meccanica. BRAFA in the Galleries 2021

BRAFA in the Galleries 2021

Patrick Alò, Mitologia Meccanica. BRAFA in the Galleries 2021

Patrick Alò, Mitologia Meccanica. BRAFA in the Galleries 2021

…is the newly created alternative to the BRAFA fair at Tour & Taxis, which has been postponed to January 2022.

From Wednesday 27 – Sunday 31 January 2021 included, the exhibitors signed up for BRAFA 2021 will welcome you in their galleries, where they will present the objects and artworks they had selected for BRAFA 2021 in the best possible conditions. Some have chosen to group together to display their artworks.

BRAFA in the Galleries 2021

In total, 126 art dealers spread across 13 countries and 37 cities look forward to sharing their passion for the beautiful, the rare, the precious and the historical in a warm, friendly atmosphere, in line with the rules in place in their area. Have a look through the list of participating galleries in order to discover those close to you. You can also download maps that enable you to find all the participating galleries in the town of your choice.

Finally, for all those who can’t visit the galleries in person, we have dedicated a page to each exhibitor on our website. Here you will find photos and descriptions of all the beautiful objects being presented, relevant practical information, and a video created for the occasion. New objects will be put online on Wednesday 27 January 2021!

 

Laocoon Gallery and W. Apolloni Gallery page: https://www.brafa.art/en/exhibitor-detail/589/w-apolloni-srl

 

Patrick Alò, Mitologia Meccanica

 

Galleria W. Apolloni e Galleria del Laocoonte
Nuovo Spazio Antico/Contemporaneo, via Margutta 81, Roma.

Monday 16.00-19.00
Tuesday – Friday: 10.00-13.00 and 16.00-19.00
Saturday: 10.00-13.00

Visits by reservation only by calling 06 68308994 or via virtual tour

 

Start the VIRTUAL TOUR:

START HERE

Patrick Alò, Mitologia Meccanica

Marisa Mori between Figurative and Futurist art

Marisa Mori, between Figurative and Futurist art

Curated by Monica Cardarelli

 

Having already dedicated exhibitions in Rome and Turin to this great female artist, and with a monographic study covering the entire corpus of her activity also currently in publication, Laocoon Gallery is proud to present in London.

Marisa Mori, a Florentine Futurist and descendant of Gian Lorenzo Bernini. She is a perfect example of the inexplicable oblivion into which supremely skilled female artists would often fall. A precocious talent, almost entirely self-taught until her arrival, in 1925, at the school of Felice Casorati in Turin.

Video

She quickly refined her innate artistic skills, and was invited to take part in exhibitions alongside her master from the outset, with art critics of the time immediately taking note, commenting on the quality of stroke, the composition and the colour, evident in works such as Via Lanfranchi, The still life Grapefruit and eggs, Marina di Massa, Study for two masks and her many self-portraits in both pastel and charcoal.

Mori’s independent spirit alongside a desire to experiment and learn led her around 1930 to approach the futurist movement. An old black and white photo portrays her proudly dressed as an aviator – in overalls, cap and glasses – sitting in the cockpit of a two-seater aerobatic plane – a flight which would inspire Mori to the creation of her bright and almost “sensual” futurist works: best represented by Mechanical Deconstruction of a crowd – she continued in this vein until the enactment of the Racial Laws, at which point she decided to distance herself from the futurist movement in protest, beginning a fourth phase of her artistic production – during which she portrayed subjects such as Florence immediately after its bombing, English soldiers whom she hosted in her large Florentine house, as well as returning to some of the subjects which had always been dear to her, creating some remarkable depictions of masks, still lifes and female portraits

Artworks

Mechanical deconstruction of the crowd

Marisa Mori, c.1933

Oil on cardboard, 81 x 110 cm
P.O.A

Via Lanfranchi

Marisa Mori, 1926

Oil on panel, 46 x 50 cm
P.O.A

verso Via Lanfranchi

Marisa Mori, 1926

Oil on panel, 46 x 50 cm
P.O.A

Reading woman

Marisa Mori, 1929-30

Oil on cardboard, 35 x 33 cm
P.O.A

Grapefruit and eggs

Marisa Mori, c.1935-40

Oil on panel, 45 x 49 cm
P.O.A

Study for two masks

Marisa Mori, 1931

Oil on panel, 58 x 44 cm
P.O.A

Marina di Massa

Marisa Mori, 1930

Oil on panel, 52 x 52 cm
P.O.A

Self portrait

Marisa Mori, 1930

Oil on panel, 44 x 51 cm
P.O.A

Luciferian self portrait

Marisa Mori, c.1926

Charcoal on pape, 50 x 33 cm
P.O.A

Luciferian self portrait

Marisa Mori, c.1926

Charcoal on pape, 50 x 36,5 cm
P.O.A

Self-portrait in a circle

Marisa Mori, 1929-30

Charcoal and pastel on paper, 48,3×34,4 cm
P.O.A

Self portrait

Marisa Mori, 1925

Charcoal on paper, 43×30,3 cm
P.O.A

Self portrait

Marisa Mori, c.1928

Charcoal on pape, 48 x 33 cm
P.O.A

Female portrait with a necklace

Marisa Mori, c.1928

48,5 x 34 cm
P.O.A

Fishermen’s nets

Marisa Mori, 1950-55

Oil on panel, 60 x 50 cm
P.O.A

Masks and guitar

Marisa Mori, 1928-29

Oil on panel, 51 x 54 cm
P.O.A

English soldier

Marisa Mori, c.1944-45

Thick pencil on paper, 35,5 x 24 cm
P.O.A

Preparatory drawing for Soldier with a helmet

Marisa Mori, c.1944-45

Pencil on paper, 33 x 24 cm
P.O.A

 Soldier with helmet

Marisa Mori, 1945

Charcoal on paper, 32.5 x 25 cm

P.O.A

Ruins of Florence

Marisa Mori, 1945

Oil on panel, 49 x 35 cm
P.O.A

The Commedia dell’Arte. Masks and Carnival in Italian 20th Century Art

The Commedia dell’Arte

Masks and Carnival in Italian 20th Century Art

When she is not wearing a facemask covering her mouth to indicate that she is mute, the personification of painting, as portrayed by ancient painters, is a woman displaying in most cases a full face mask hanging from her neck. It is a symbol of the imitation of nature: art imitates reality, like an actor disguised to play a part. We want to remind this connection between the mask and painting for this exhibition by Laocoon Gallery celebrating, with the title of “The Commedia dell’Arte”, Italian masks in XXth Century art.

Watch the video

At the centre of this thematic collection is an impressive series of drawings by the visionary Italian artist Alberto Martini (1876-1954), a precursor of surrealism. His series “Il Libro delle Ombre” (The Book of Shadows), begun in 1904, consists of 29 drawings in brush and black china ink portraying masked faces in all possible kinds of disguise. Full false faces, vizards, half masks, eye masks, and black domino cloaks with venetian 18th century three cornered hats, all drawn with speedy brushstrokes as in Chinese painting, nocturnal and mysterious in character, illustrations of some dramatic and gothic poem whose words are lost. These enigmatic and obsessive faces, look like Rorschach’s patches appearing in a nightmare, populating some Venetian perpetual night, in which we wouldn’t be surprised to meet the heavily made up disquieting eyes of Marchesa Casati, famous for her eccentric venetian masked balls, for which Martini acted as costume designer and court portrait-painter.

With the figurative remembrance of Tiepolo in mind, we find ourselves in Venice, the ideal capital of masks, with her ancient old carnival where actors on the stage wore masks as well as the people in the audience.

A large painting by Ugo Rossi (1906-1990), almost four metres wide, portrays Venice’s piazza San Marco crowded with people in all kinds of colourful carnival costumes. It used to hang in the bar in one of the luxurious transatlantic ships that were the monuments of post war enthusiastic optimism, a way to represent Italy as a country of perpetual enjoyment after the horror and destruction of the past conflict.

Venetian scenes with carnival masks were a favourite theme of the artist Umberto Brunelleschi (1879-1949), a Tuscan who had a successful career in Paris as costume designer, scenographer and fashion illustrator. By him are two of his typical pochoirs with amorous couples courting, the study for a poster dedicated to a Venetian feast held in the Cercle de l’Union Interalliées in Paris. In another watercolour he paints his own portrait, it is the study for a poster advertising the theatre play “The Mask and the Face”, a now forgotten work by Luigi Chiarelli that had at the time wide international success in the footsteps of Pirandello’s influential example.

Directly inspired by Pirandello was the painter Giovanni Marchig, who’s masterpiece, “Death of an author”(1924), showing a playwright dead at his desk surrounded by all the characters of the “commedia dell’arte” in despair is now in Palazzo Pitti. He was an enchanting painter, little known because he put aside his painter’s brush in the last part of his life to become a famed old master’s restorer, very close to Bernard Berenson. His current fame comes from having been the former owner of Leonardo’s controversial drawing “La Bella Principessa”. Laocoon Gallery is proud to present a newly rediscovered portrait by Marchig (1933), of a young actor dressed up as Harlequin. He has his multi-coloured costume but he doesn’t wear a mask, he’s off stage, resting, his arms folded. The emphasis this time is on the face, on the real person of the actor when not possessed by his character.

Cezanne introduced Italian masks into modern painting, and Picasso in his blue period, followed his lead, but the modern painter who most of all chose and cherished Harlequins and Pulcinellas as subjects and mirrors of his own soul is certainly Gino Severini (1883-1966). The frescoes with dancing and playing masquerades that he painted for Sir George Sitwell in his castle at Montegufoni in Tuscany is a joyous little Sistine Chapel of twentieth-century art. A large cartoon by Severini for a “Concert” oil painting of 1942 will be exhibited along with two charming “pochoirs” and a wax pastel drawing of Harlequin and Pulcinella, preparatory for a famous lithograph of the early 50’s.

After the First World War the man who most promoted as the pinnacle of fashion 18th century’s Venitian style’s Bals Masqués was certainly the French painter Jean Gabriel Domergue (1889-1962). His Parisian Bal Venitien at the Opera in 1922 was only the first of a series held subsequently in Monte Carlo, Cannes, Biarritz and Deauville. He would design the costumes, the programmes, the posters and portray the most prominent and aristocratic beauties as provoking Venetian Ladies coming out from some of Casanova’s alcoves. He also decorated residences and public nightspots with gilded canvases wonderfully sketched over with dreamy elegant scenes of Venetian carnival. The like of these, now mostly dispersed if not destroyed, can be seen assembled in Domergue’s own villa in Cannes, now a Museum where the Jury of the Cinema Festival sits when the Palme d’Or awards are decided. Three rare panels gilded with golden leaves by Domergue with gondolas, amorous masks and beautiful venetian ladies are the most visibly precious lots in this exhibition. He is here at the height of his elegant art.

It is the world of Casanova, reinterpreted with the spirit of the “anneés folles”. The famous Venetian womanizer is portrayed in full mask with a masked puppet in each hand. It is the study for the cover of a play, “The Marriage of Casanova” (1910), in which the title role hero acts as puppeteer of all the characters in the plot. It is the work of Oscar Ghiglia (1876-1945), who was Ugo Ojetti’s – Italy’s master art critic of the time and the author of the play – favourite painter.
Metaphysical masks as the centrepieces of enigmatic still lifes are in the paintings of Casorati’s pupil Marisa Mori as well as in a very early and interesting work by Aligi Sassu (1929). Among other drawings we quote also a moving illustration of Harlequin taken to Heaven by angels, a work of the illustrator Enrico Sacchetti that belonged to the famous comic performer Ettore Petrolini. Attributed to Sacchetti is also the original drawing for the cover of one Pirandello’s collection of short stories “Terzetti” of 1912, where a Muse amuses herself wearing one different mask after another. Another Harlequin is painted by contemporary artist Pino Pascali, from the time when he was creating animated films for television advertisement: Arlecchino used to be a very renowned brand of tinned tomatoes.

XX The Female Gender in Twentieth Century Art – Online Exhibition

XX THE FEMALE GENDER IN XXth CENTURY ART

Online Exhibition

 

XX: THE FEMALE GENDER IN XXth CENTURY ITALIAN ART is the latest in a series of meaningful exhibitions by curator Monica Cardarelli, and is the first exhibition to be made available online by Laocoon Gallery following its successful inauguration in Florence and subsequent displays in Rome, Milan and London.

The complete exhibition comprised around one hundred works, with techniques ranging between paintings, drawings, pastels, bronzes, terracotta and ceramics, of Italian artists from the 20th Century who represented as many female figures. Wives or lovers, virgins or prostitutes, holy mothers like the Madonna or man-eating she-devils. Chaste teenagers or mature Magdalenes, but also goddesses, nymphs, legendary personifications of Spring or Italy, imposing and shapely figures wearing crowns of turreted walls.

The title of the exhibition uses “XX” as both chromosomes and Roman numerals in order to represent not only the genes that determine a woman’s sex but also the 20th Century, an era which saw unprecedented change in the role, status, appearance and condition of women.

Exhibition curator, gallery director and strong advocate of women’s rights Monica Cardarelli, who has researched and brought together this astonishing selection of art portraying the female gender in its many representations and transfigurations, says of the exhibition, “In a single image we can find a myriad of stories and destinies that intertwine and overlap, and this is also the case for each of the other images that make up this exhibition. Each contains stories that oscillate between past and present, leading to a series of reflections, to which are added those generated by their being together, by the dialogue that inevitably they entertain while standing side by side.”

Artworks

ACHILLE FUNI

Lucrezia Romana, c.1940

Oil on canvas, 60 x50 cm
£30,000.00

ACHILLE FUNI

Ugo and Parisina, 1934

Pastel on mounted paper, 93 x 72 cm
P.O.A

ALBERTO MARTINI

Aurelia, the actress Jenny Colon, 1934

Watercolour on paper, 30 x 21.1 cm
£15,000.00

ALBERTO SAVINIO

Portrait of Marcella Giulini, 1949

Oil on panel, 30.3 x 40.5 cm
P.O.A

ALBERTO ZIVERI

Postribolo, 1945

Oil on canvas, 23 x 26 cm
£18,000.00

ALBERTO ZIVERI

Female nude with a fan, 1958

Oil on canvas, 170 x 90 cm
P.O.A

ANDREA SPADINI

Amaca Zanardo, 1954

Terracotta, 35 x 12 x 33 cm
£10,000.00

ANDREA SPADINI

Girl with a bird, 1939

Tuff, 46 x 48 x 27 cm
£16,000.00

ANDREA SPADINI

Leda and the swan, 1959

Glazed ceramic, 80 x 52 x 27 cm
P.O.A

ANTONIO CANOVA

Joachim Murat & Caroline Bonaparte, 1813

Plaster, 66 x 26 x27 – 58.5 x 26 x 27 cm
P.O.A

ANTONIO MANCINI

Female figure, c.1915

Charcoal and pastel on paper, 41 x 27 cm
£8,500.00

ANTONIO SCORDIA

Portrait of Valentina, 1951

Oil on canvas, 150 x 100 cm
£28,000.00

ARMANDO SPADINI

Study for the finding of Moses

Oil on canvas, 70 x 57.5 cm
£26,000.00

DINO BUZZATI

The Harem, 1958

Pastel on paper, 29.2 x 39.5 cm
£20,000.00

EDITA WALTEROWNA BROGLIO

Study for Terrace by the sea, 1949

Pencil on paper, 96 x 123 cm
£25,000.00

ENRICO PRAMPOLINI

Female nude, c.1945

Indian ink on paper, 27 x 21 cm
£6,000.00

ENRICO PRAMPOLINI

Female nude, c.1945

Indian ink on paper, 27 x 21 cm
£6,000.00

ENRICO SACCHETTI

Fashion and women, 1913

Tempera pouchoir, 32.5 x 24 cm
£5,000.00

ENRICO SACCHETTI

Fashion and women

Tempera pouchoir, 32.4 x 24 cm
£5,000.00

ENRICO SACCHETTI

Portrait of Eleonora Duse, c.1910

Tempera pouchoir, 35 x 26 cm
£7,000.00

FERRUCCIO FERRAZZI

Figure of the Merry go round, 1936

Oil on canvas, 50 x 42 cm
£16,000.00

FERRUCCIO FERRAZZI

Naked girl, 1936

Oil on canvas, 74 x 52 cm
£40,000.00

GIULIO ARISTIDE SARTORIO

Reading woman, 1891

Pastel on paper, 85 x 48 cm
£40,000.00

LEA MONETTI

Laocoon Mother, 2015

Bronze, 79 x 66 x 27.5 cm
£40,000.00

LIBERO ANDREOTTI

Venus Fortune, 1928-31

Bronze, 78 x 25 x 15 cm
P.O.A

LILA DE NOBILI

Sketch for the costume of Maria Callas in La Traviata, 1955

Indian ink and watercolour on grey paper, 24.5 x 18 cm
£10,000.00

MARGHERITA VANARELLI

Female figure with a child in a high chair, 1963

Mix media on paper, 27.5 x 21.5 cm
£7,000.00

PIETRO GAUDENZI

Bread bearers (from Il Grano triptych), 1940

Pastel on mounted paper, 230 x 140 cm
P.O.A

PIETRO GAUDENZI

Farmers of Anticoli Corrado (from Il Grano triptych), 1940

Pastel on mounted paper, 230 x 140 cm
P.O.A

RENATO GUTTUSO

Medusa, 1985

Indian ink and watercolour on paper, 40.5 x 41.5 cm
£16,000.00

ROBERTO MELLI

Portrait of Anna Maria Passarella, 1954

Oil on canvas, 150 x 90 cm
£35,000.00

THAYAHT

Manekinos, 1922

Pencil and tempera on paper, 20 x 13 cm
£8,000.00

UBALDO OPPI

Portrait of his wife Adele Leone, 1923-24

Pencil on paper, 70 x 58 cm
£25,000.00

UMBERTO BRUNELLESCHI

America goddess of war, c.1935

Tempera and pencil on paper, 33 x 25 cm
£7,000.00

UMBERTO BRUNELLESCHI

United States Army Red Cross nurse, c.1935

Tempera and pencil on paper, 35 x 25 cm
£7,000.00