Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's
Massimo Campigli, ‘Three Scenes (From Lyriche Di Saffo): La Figlia Di Saffo, Eleganza e Mollezza, Danze Notturne’, 1944, 1944, 1946, Waddington's

Images 6" x 8" — 15.2 x 20.3 cm.; 5.5" x 7.5" — 14 x 19.1 cm.; 7.5" x 12.25" — 19.1 x 31.1 cm.

Published by Edizioni del Pellicano, Vicenza 1944

Signature: each signed and dated 44 in the plate, the first two, each signed and dated in pencil to margins: the first two dated 44, the last dated 46, each numbered: the first inscribed “epreuve d‘artiste”, the next numbered 5/20, the third numbered 11/20 in pencil to margins, one titled verso

MELONI-TAVOLA, 73; 70 AND 72 RESPECTIVELY

Galleria D’Arte Del Naviglio, Milano label or stamp to verso of two
Private Collection, Ontario

About Massimo Campigli

Massimo Campigli began his career as a journalist, writing for Futurist and Avant-garde magazines in Italy in the 1910s. After being taken as a prisoner of war during World War I, Campigli served as a foreign correspondent in Paris in 1919 before joining the “Paris Italians” artist group, which also included the Futurist Gino Severini and the Pittura Metafisica painter Giorgio de Chirico. Campigli began depicting almond-eyed, frozen figures in 1928 when a trip to Rome’s Villa Giulia left the artist fascinated with Etruscan Art—the art produced in Italy between the 9th and 2nd centuries BCE. His most iconic works—pale, fresco-like paintings of women—mirrored a broader European revival of Ancient art as a response to the horrors of World War I.

Italian, 1895-1971, Berlin, Germany

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