Estimate
€ 15.000 - 20.000
Sold
€ 13.950
The price includes buyer's premium
Do you have a similar item you would like to sell?
Information
oil on canvas laid on cardboard
cm 22,5 x 37,5
cm 22,5 x 37,5
signed lower left: Morbelli
on the back, label of the exhibition La montagna dipinto , Varenna, Villa Monastero (18 June-25 September 2016); another label of the exhibition Morbelli&Morbelli , Varese, Musei Civici (1 April-4 June 1995); stamps and labels of the Galleria d'Arte Perazzone of Biella
Exhibition
Morbelli&Morbelli , Masnago Castle, Civic Museums, 1 April-4 June 1995;
Angelo Morbelli. Between Reality and Divisionism , GAM of Turin, 7 February-25 April 2001;
The painted mountain , Varenna, Villa Monastero, 18 June-25 September 2016
Angelo Morbelli. Between Reality and Divisionism , GAM of Turin, 7 February-25 April 2001;
The painted mountain , Varenna, Villa Monastero, 18 June-25 September 2016
Literature
G. Anzani in G. Anzani, F. Maggia, Morbelli&Morbelli, exhibition catalogue (Masnago Castle, Civic Museums, 1 April-4 June 1995), 1995, p. 142 and fig. p. 72;
A. Scotti Tosini, Angelo Morbelli. Between Reality and Divisionism, exhibition catalogue (GAM of Turin, 7 February-25 April 2001), Turin, 2001, p. 151 and colour plates p. 103
A. Scotti Tosini, Angelo Morbelli. Between Reality and Divisionism, exhibition catalogue (GAM of Turin, 7 February-25 April 2001), Turin, 2001, p. 151 and colour plates p. 103
Specialist Notes
The description given by Aurora Scotti on the occasion of the Turin retrospective is very suggestive: "The peaks of the Sobretta group are "cut" in this painting by the edge of the visual field, at an unusual height for the most common representative canons in the iconography of the mountain landscape (something that Morbelli had also experimented with in the Forni Glacier): they emerge at less than a third of the height of the canvas, and the observer's gaze is immediately induced to escape from volumes, weights and bodily solidity to move upwards, soothed by the type of framing itself, being struck and attracted by the mobile plays of light within the thick cloud cover".
An analogy with De Nittis' cuts can be noted, but the tonal aspects are exalted, in a symphony of greys and the lyricism of the natural data.
An analogy with De Nittis' cuts can be noted, but the tonal aspects are exalted, in a symphony of greys and the lyricism of the natural data.