Mosajco

Mario Sironi at Villa Fiorentino

Mario Sironi in Sorrento Coast

Mario Sironi in Sorrento Coast

His paintings of the early twenties remained futurist in
character although, surreptitiously, his style was moving toward
increasingly monumental forms.
His studies range from the dense and rich plasticity of the
small-scale canvases.
Drawing and design played a non-negligible role in Sironi’s
work because, as well as being a means to reach the masses,
drawing is also the most direct transposition of the artist’s
senses.
Sironi was certainly among the fi rst to engage with the
themes and problems of modern graphic design and, as
such, contributed to revolutionizing tastes and style by
using layouts, compositions and characters that departed
from more “classical” trends and embraced directions and
‘fl avours’ that serve as pre-cursors to modern commercial
art.
Sironi consistently aspired to produce work that would
transcend easel painting and, by the early thirties, had
developed the idea of reviving the modern epic narrative
by designing large-scale compositions that would distance
him from intimism and eighteenth century verismo
(realism). Mural painting and large-scale decoration,
consisting of spaces, structural orders and architectonic
visions, therefore represent the culmination of his artistic
conception. Ž is conception is charged with a further
objective, a social purpose that fully satisfi es, in its
dimensions and its content, his belief in the ‘necessity’ of
public art.
previous works to mountains and multiple composition
canvases. In the post-war period, Sironi’s paintings became
gloomy and dramatic, abandoning the monumental
character and great eloquence of recent years
in favour of a diff erent, more humble
spatial conception produced on small-scale canvases.
Drawing and design played a non-negligible role in Sironi’s
work because, as well as being a means to reach the masses,
drawing is also the most direct transposition of the artist’s
senses.
Sironi was certainly among the fi rst to engage with the
themes and problems of modern graphic design and, as
such, contributed to revolutionizing tastes and style by
using layouts, compositions and characters that departed
from more “classical” trends and embraced directions and
‘fl avours’ that serve as pre-cursors to modern commercial
art.
Sironi consistently aspired to produce work that would
transcend easel painting and, by the early thirties, had
developed the idea of reviving the modern epic narrative
by designing large-scale compositions that would distance
him from intimism and eighteenth century verismo
(realism). Mural painting and large-scale decoration,
consisting of spaces, structural orders and architectonic
visions, therefore represent the culmination of his artistic
conception. Ž is conception is charged with a further
objective, a social purpose that fully satisfi es, in its
dimensions and its content, his belief in the ‘necessity’ of
public art.
previous works to mountains and multiple composition
canvases. In the post-war period, Sironi’s paintings became
gloomy and dramatic, abandoning the monumental
character and great eloquence of recent years
in favour of a diff erent, more humble
spatial conception produced small-scale canvases.
Drawing and design played a non-negligible role in Sironi’s
work because, as well as being a means to reach the masses,
drawing is also the most direct transposition of the artist’s
senses.
Sironi was certainly among the fi rst to engage with the
themes and problems of modern graphic design and, as
such, contributed to revolutionizing tastes and style by
using layouts, compositions and characters that departed
from more “classical” trends and embraced directions and
‘fl avours’ that serve as pre-cursors to modern commercial
art.
Sironi consistently aspired to produce work that would
transcend easel painting and, by the early thirties, had
developed the idea of reviving the modern epic narrative
by designing large-scale compositions that would distance
him from intimism and eighteenth century verismo
(realism). Mural painting and large-scale decoration,
consisting of spaces, structural orders and architectonic
visions, therefore represent the culmination of his artistic
conception. Ž is conception is charged with a further
objective, a social purpose that fully satisfi es, in its
dimensions and its content, his belief in the ‘necessity’ of
public art.
previous works to mountains and multiple composition
canvases. In the post-war period, Sironi’s paintings became
gloomy and dramatic, abandoning the monumental
character and great eloquence of recent years
in favour of a diff erent, more humble
spatial conception produced small scale cavances.


 
 
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