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Gino Severini

LE CONCERT (MELONI 25), 1955

Color lithograph on Rives BFK paper
Edition 56/200
Bidding closed
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About the work
D
Doyle

Published by l'Oeuvre Gravée, Paris and with their blindstamp, with full margins, framed.

13 …

Read more

Published by l'Oeuvre Gravée, Paris and with their blindstamp, with full margins, framed.

13 7/8 x 19 inches; 352 x 483 mm. Sheet 17 3/4 x 22 1/8 inches; 451 x 562 mm.

Medium
Print
Signature
Signed and numbered 56/200 in pencil
Gino Severini
Italian, 1883–1966
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While closely associated with the Futurist movement, Gino Severini’s artistic style metamorphosed several times throughout his career. He is best known for using color to accentuate contrasts and emphasize his compositions’ musicality, which owes to his study of complementary colors and early adoption of Divisionism. Upon moving to Paris, Severini’s paintings became increasingly abstract as he embraced Synthetic Cubism—essentially constructing a composition out of fragments of objects—drawing influence from Pablo Picasso and Georges Braque, as well as the writer Guillaume Apollinaire, whose company he kept. Around 1916 his emphasis shifted from deconstructing forms to imposing geometric order on his compositions, and he would later experiment with a Neoclassical figurative style, producing mosaics, murals, and frescos, as well as designing sets and writing. A frequent theatergoer, Severini often painted still lifes with musical instruments and scenes from the Commedia dell’Arte.

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About the work
D
Doyle

Published by l'Oeuvre Gravée, Paris and with their blindstamp, with full margins, framed.

13 …

Read more

Published by l'Oeuvre Gravée, Paris and with their blindstamp, with full margins, framed.

13 7/8 x 19 inches; 352 x 483 mm. Sheet 17 3/4 x 22 1/8 inches; 451 x 562 mm.

Medium
Print
Signature
Signed and numbered 56/200 in pencil
Gino Severini
Italian, 1883–1966
Follow

While closely associated with the Futurist movement, Gino Severini’s artistic style metamorphosed several times throughout his career. He is best known for using color to accentuate contrasts and emphasize his compositions’ musicality, which owes to his study of complementary colors and early adoption of Divisionism. Upon moving to Paris, Severini’s paintings became increasingly abstract as he embraced Synthetic Cubism—essentially constructing a composition out of fragments of objects—drawing influence from Pablo Picasso and Georges Braque, as well as the writer Guillaume Apollinaire, whose company he kept. Around 1916 his emphasis shifted from deconstructing forms to imposing geometric order on his compositions, and he would later experiment with a Neoclassical figurative style, producing mosaics, murals, and frescos, as well as designing sets and writing. A frequent theatergoer, Severini often painted still lifes with musical instruments and scenes from the Commedia dell’Arte.

Gino Severini

LE CONCERT (MELONI 25), 1955

Color lithograph on Rives BFK paper
Edition 56/200
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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