Artist of the Day, September 21, 2026 : Gino Severini, an Italian painter/avant-garde (#2637)

 Gino Severini (1883-1966) was a pioneering Italian artist who served as a vital cultural bridge between the avant-garde movements of Italy and France. Born in Cortona, Italy, his formal education began at the local Scuola Tecnica before he relocated to Rome in 1899 to attend art classes at the Villa Medici. During his time in Rome, Severini formed a pivotal connection with Umberto Boccioni and studied under Giacomo Balla, who introduced him to the innovative technique of using divided rather than mixed color. Seeking further inspiration, Severini moved to Paris in 1906, where he studied Impressionism, connected with Neo-Impressionist Paul Signac, and integrated into the elite Parisian avant-garde alongside Pablo Picasso, Georges Braque, and prominent literary figures of the era.

At the invitation of Filippo Tommaso Marinetti and Boccioni, Severini officially joined the Futurist movement and co-signed the Technical Manifesto of Futurist Painting in April 1910. While his contemporary Futurists focused heavily on industrial machinery, Severini distinguished himself by using the fluid movement of dancers to express artistic dynamism. He played a central role in organizing the landmark first Futurist exhibition in Paris in 1912 and expanded his international presence with high-profile solo exhibitions in London and Berlin.

Following a final series of Futurist paintings centered on war themes, Severini’s style evolved toward Synthetic Cubism. By 1920, he began applying classical theories of geometric balance, specifically the Golden Section, to figurative subjects inspired by traditional commedia dell’arte. In his later career, Severini divided his time between Paris and Rome, expanding his artistic portfolio to include architectural mediums such as frescoes, mosaics, and murals across Switzerland.

© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by Gino Severini or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

 

 Gino Severini

The Boulevard, 1910-11

The Milliner, 1910-11

Souvenirs de Voyage (Memories of a Journey), 1911

The Haunting Dancer, 1911

Dancer at Pigalle, 1912

Dynamic Hieroglyphic of the Bal Tabarin, 1912

Tango Argentino, 1913

The Bear Dance at the Moulin Rouge, 1913

Untitled, 1913

Sea  Dancer, 1913-14

Visual Synthesis of the Idea: War, 1914

Red Cross Train Passing a Village, 1915

The Guitar, 1918

Mandolin and Fruit Bowl, 1919

The Accordion Player, 1919

Maternity, 1919-20

Still Life with Mandolin, 1920

Pulcinella with Guitar, 1922-24

Symbole de l'Eucharistie, 1927

Polichinelle au livre, 1930

The Concert, 1930

The Feats of Harlequin, 1930

Portrait of Mrs. Severini, 1934

 Pas de Deux, 1952

The Concert, 1955

The Musicians, 1955

The Dancer, 1957-60

Commedia Dell'Arte, 1958

Manifesto della personale dell'artista alla Galerie Lucie Weill di Parigi, 1963

 

Artist of the Day, September 19, 2026 : Giuseppe Arcimboldo, an Italian painter/Renaissance (#2636)

 Giuseppe Arcimboldo (1527 - 1593) was a visionary Italian Renaissance painter whose innovative approach to portraiture seamlessly blended meticulous botanical observation with sophisticated optical illusion. Best known for his imaginative composite heads, Arcimboldo masterfully arranged everyday objects—including fruits, vegetables, flowers, fish, and books—to form highly recognizable likenesses of his subjects. This unique technique demonstrated not only his profound creative ingenuity but also a deep understanding of natural history and symbolic allegory, which resonated strongly with the intellectual elite of his era.

Before achieving widespread renown for his composite portraits, Arcimboldo established a robust foundation in traditional ecclesiastical art within his native Milan. As the son of Biagio, a painter for the Fabbrica of the Duomo, he began his professional career with prestigious public commissions, including the intricate stained glass window designs for the Stories of St. Catherine of Alexandria in 1549. His artistic portfolio expanded through high-profile collaborations, such as executing complex frescoes for the Cathedral of Monza alongside Giuseppe Meda in 1556. By 1558, his reputation for large-scale design was solidified when he created the cartoon for the monumental Dormition of the Virgin Mary tapestry, a masterpiece that continues to hang in the Como Cathedral today.

© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by Giuseppe Arcimboldo assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

 Giuseppe Arcimboldo

Maximilian II, His Wife and Three Children, c.1563

Summer, c.1563

Summer, c.1563

Winter, c.1563

Air, c.1566

Earth, c.1566

Fire, c.1566

The Librarian, c.1566

Water, c.1566

Water, c.1566

Instruments of Human Sustenance: Agriculture, c.1569

The Cook, c.1570

Autumn, c.1573

Autumn, c.1573

Spring, c.1573

Summer, c.1573

The Waiter, c.1574

To the Lady of Good Taste, c.1580

Flora in a Vase, c.1580-90

Costume Drawing for a Female Figure with Torch, c.1585

The Gardener, c.1587-90

The Vegetable Gardener, c.1587-90

1589

Flora, c.1590

The Lawyer, c.1589

Four Seasons in One Head, c.1590

Reversible Head with Basket of Fruit, c.1590

Vertumnus, c.1591

Head of a Man, c.1854