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"Pastorella Abruzzese" - Tito Pellicciotti
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Description
(Barisciano (AQ) 1871 - 1950)
Cm 69x35,5 | In 27.17x13.98
Oil on canvas
Tiziano Pellicciotti, known as Tito, was born on December 2, 1873, in Barisciano, a small town in the L'Aquila area. His father Carlo, a sculptor of local fame, immediately sensed the young man's good inclination for drawing and did not hinder his intentions and his "manifested intention to undergo the discipline of a more rigorous preparation" (G.L. Marini). As a result, young Tito "without serious family sacrifices moved to Naples and enrolled at the Neapolitan Institute of Fine Arts in 1890" (G.L. Marini) where he had Domenico Morelli and Filippo Palizzi as teachers. From their teachings he elaborated a strong verist connotation of the first stylistic elements, making use of a soft and full-bodied brushstroke and a special attention to luministic and chromatic aspects. A preliminary period of teaching (in the mid-1980s) is convincingly referred by critics to Teofilo Patini. It seems in this regard almost certain that in those years the Nostro frequented the School of Arts and Crafts in L'Aquila, of which the master from Altosangrino was director at the time. Patini himself would later encourage the transfer of the valiant pupil to that of Naples on the threshold of his twenties. Having completed his training in the Neapolitan capital (and after a brief attendance at the Michelottian circle in Francavilla) Pellicciotti returned to his native town, where he successfully embodied his pictorial activity, issuing a conspicuous production, but one that was entirely captivating in its themes. Mindful of Palizzi's lesson, he also pays attention to the rural world of his land, depicting rustic interiors and stables, peasants and shepherdesses, cowsheds and stubble, but above all successful figurines of domestic animals caught in a sort of delicate lyricism and surrounded by objects and dishes of everyday life, spagliate chairs and copper basins, onions and hay; there is no shortage of tavern interiors enlivened by popular figures and views "en plein aire" with shepherdesses of sheep and turkeys or even street squares with onion sellers, traveling musicians and umbrella makers with smoking pipes; and again pastoral caravans, hunting scenes and some delicate motherhood. In this pictorial phase Nostro, burdened moreover by a substantial market demand (which indeed was not always matched by equal effectiveness of artistic result), was strongly influenced by another illustrious countryman of his, Francesco Paolo Michetti, which for some is even to be understood as a "sort of subordination" of inspiration. See in this regard the insistent "shepherdesses" posed against the backdrop of tiny perched villages. Admiration for Michetti's genius was later sustained by a true personal friendship for which Michetti did not spare Our Lord public appreciation and sincere esteem. In 1911 Pellicciotti took part in the Libyan campaign to which he not incidentally attached an artistic production of the "orientalist" genre (very much in vogue at that time) which he voluntarily extended throughout 1912. The themes (usually caravans of camels and dromedaries among palm trees and desert) diligently jotted down in the travel notebook are then treated on canvas with the usual levity, almost "fairytale-like" atmosphere and sparkling color rendering. In the course of his career, the painter organized numerous solo exhibitions in various cities in Italy (Rome, Naples, L'Aquila) all of which were received with considerable favor especially by the public but of which no trace remains in catalogs or reviews. He participated, in Italy and abroad, in several group exhibitions curated by art patrons to whom he entrusted his conspicuous production for sale. His de facto works are now in collections all over the world with a certain prevalence of the United States. Tito Pellicciotti died in his hometown of Barisciano on April 12, 1950. A major retrospective exhibition is hosted in the Spanish Fort in L'Aquila from August 3 to 30, 1993. His works nonetheless record a constant presence on the art market and are appreciated by a growing public, despite an initial lack of interest on the part of "educated" critics.
Cm 69x35,5 | In 27.17x13.98
Oil on canvas
Tiziano Pellicciotti, known as Tito, was born on December 2, 1873, in Barisciano, a small town in the L'Aquila area. His father Carlo, a sculptor of local fame, immediately sensed the young man's good inclination for drawing and did not hinder his intentions and his "manifested intention to undergo the discipline of a more rigorous preparation" (G.L. Marini). As a result, young Tito "without serious family sacrifices moved to Naples and enrolled at the Neapolitan Institute of Fine Arts in 1890" (G.L. Marini) where he had Domenico Morelli and Filippo Palizzi as teachers. From their teachings he elaborated a strong verist connotation of the first stylistic elements, making use of a soft and full-bodied brushstroke and a special attention to luministic and chromatic aspects. A preliminary period of teaching (in the mid-1980s) is convincingly referred by critics to Teofilo Patini. It seems in this regard almost certain that in those years the Nostro frequented the School of Arts and Crafts in L'Aquila, of which the master from Altosangrino was director at the time. Patini himself would later encourage the transfer of the valiant pupil to that of Naples on the threshold of his twenties. Having completed his training in the Neapolitan capital (and after a brief attendance at the Michelottian circle in Francavilla) Pellicciotti returned to his native town, where he successfully embodied his pictorial activity, issuing a conspicuous production, but one that was entirely captivating in its themes. Mindful of Palizzi's lesson, he also pays attention to the rural world of his land, depicting rustic interiors and stables, peasants and shepherdesses, cowsheds and stubble, but above all successful figurines of domestic animals caught in a sort of delicate lyricism and surrounded by objects and dishes of everyday life, spagliate chairs and copper basins, onions and hay; there is no shortage of tavern interiors enlivened by popular figures and views "en plein aire" with shepherdesses of sheep and turkeys or even street squares with onion sellers, traveling musicians and umbrella makers with smoking pipes; and again pastoral caravans, hunting scenes and some delicate motherhood. In this pictorial phase Nostro, burdened moreover by a substantial market demand (which indeed was not always matched by equal effectiveness of artistic result), was strongly influenced by another illustrious countryman of his, Francesco Paolo Michetti, which for some is even to be understood as a "sort of subordination" of inspiration. See in this regard the insistent "shepherdesses" posed against the backdrop of tiny perched villages. Admiration for Michetti's genius was later sustained by a true personal friendship for which Michetti did not spare Our Lord public appreciation and sincere esteem. In 1911 Pellicciotti took part in the Libyan campaign to which he not incidentally attached an artistic production of the "orientalist" genre (very much in vogue at that time) which he voluntarily extended throughout 1912. The themes (usually caravans of camels and dromedaries among palm trees and desert) diligently jotted down in the travel notebook are then treated on canvas with the usual levity, almost "fairytale-like" atmosphere and sparkling color rendering. In the course of his career, the painter organized numerous solo exhibitions in various cities in Italy (Rome, Naples, L'Aquila) all of which were received with considerable favor especially by the public but of which no trace remains in catalogs or reviews. He participated, in Italy and abroad, in several group exhibitions curated by art patrons to whom he entrusted his conspicuous production for sale. His de facto works are now in collections all over the world with a certain prevalence of the United States. Tito Pellicciotti died in his hometown of Barisciano on April 12, 1950. A major retrospective exhibition is hosted in the Spanish Fort in L'Aquila from August 3 to 30, 1993. His works nonetheless record a constant presence on the art market and are appreciated by a growing public, despite an initial lack of interest on the part of "educated" critics.
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(Barisciano (AQ) 1871 - 1950)
Cm 69x35,5 | In 27.17x13.98
Oil on canvas
Tiziano Pellicciotti, known as Tito, was born on December 2, 1873, in Barisciano, a small town in the L'Aquila area. His father Carlo, a sculptor of local fame, immediately sensed the young man's good inclination for drawing and did not hinder his intentions and his "manifested intention to undergo the discipline of a more rigorous preparation" (G.L. Marini). As a result, young Tito "without serious family sacrifices moved to Naples and enrolled at the Neapolitan Institute of Fine Arts in 1890" (G.L. Marini) where he had Domenico Morelli and Filippo Palizzi as teachers. From their teachings he elaborated a strong verist connotation of the first stylistic elements, making use of a soft and full-bodied brushstroke and a special attention to luministic and chromatic aspects. A preliminary period of teaching (in the mid-1980s) is convincingly referred by critics to Teofilo Patini. It seems in this regard almost certain that in those years the Nostro frequented the School of Arts and Crafts in L'Aquila, of which the master from Altosangrino was director at the time. Patini himself would later encourage the transfer of the valiant pupil to that of Naples on the threshold of his twenties. Having completed his training in the Neapolitan capital (and after a brief attendance at the Michelottian circle in Francavilla) Pellicciotti returned to his native town, where he successfully embodied his pictorial activity, issuing a conspicuous production, but one that was entirely captivating in its themes. Mindful of Palizzi's lesson, he also pays attention to the rural world of his land, depicting rustic interiors and stables, peasants and shepherdesses, cowsheds and stubble, but above all successful figurines of domestic animals caught in a sort of delicate lyricism and surrounded by objects and dishes of everyday life, spagliate chairs and copper basins, onions and hay; there is no shortage of tavern interiors enlivened by popular figures and views "en plein aire" with shepherdesses of sheep and turkeys or even street squares with onion sellers, traveling musicians and umbrella makers with smoking pipes; and again pastoral caravans, hunting scenes and some delicate motherhood. In this pictorial phase Nostro, burdened moreover by a substantial market demand (which indeed was not always matched by equal effectiveness of artistic result), was strongly influenced by another illustrious countryman of his, Francesco Paolo Michetti, which for some is even to be understood as a "sort of subordination" of inspiration. See in this regard the insistent "shepherdesses" posed against the backdrop of tiny perched villages. Admiration for Michetti's genius was later sustained by a true personal friendship for which Michetti did not spare Our Lord public appreciation and sincere esteem. In 1911 Pellicciotti took part in the Libyan campaign to which he not incidentally attached an artistic production of the "orientalist" genre (very much in vogue at that time) which he voluntarily extended throughout 1912. The themes (usually caravans of camels and dromedaries among palm trees and desert) diligently jotted down in the travel notebook are then treated on canvas with the usual levity, almost "fairytale-like" atmosphere and sparkling color rendering. In the course of his career, the painter organized numerous solo exhibitions in various cities in Italy (Rome, Naples, L'Aquila) all of which were received with considerable favor especially by the public but of which no trace remains in catalogs or reviews. He participated, in Italy and abroad, in several group exhibitions curated by art patrons to whom he entrusted his conspicuous production for sale. His de facto works are now in collections all over the world with a certain prevalence of the United States. Tito Pellicciotti died in his hometown of Barisciano on April 12, 1950. A major retrospective exhibition is hosted in the Spanish Fort in L'Aquila from August 3 to 30, 1993. His works nonetheless record a constant presence on the art market and are appreciated by a growing public, despite an initial lack of interest on the part of "educated" critics.
Cm 69x35,5 | In 27.17x13.98
Oil on canvas
Tiziano Pellicciotti, known as Tito, was born on December 2, 1873, in Barisciano, a small town in the L'Aquila area. His father Carlo, a sculptor of local fame, immediately sensed the young man's good inclination for drawing and did not hinder his intentions and his "manifested intention to undergo the discipline of a more rigorous preparation" (G.L. Marini). As a result, young Tito "without serious family sacrifices moved to Naples and enrolled at the Neapolitan Institute of Fine Arts in 1890" (G.L. Marini) where he had Domenico Morelli and Filippo Palizzi as teachers. From their teachings he elaborated a strong verist connotation of the first stylistic elements, making use of a soft and full-bodied brushstroke and a special attention to luministic and chromatic aspects. A preliminary period of teaching (in the mid-1980s) is convincingly referred by critics to Teofilo Patini. It seems in this regard almost certain that in those years the Nostro frequented the School of Arts and Crafts in L'Aquila, of which the master from Altosangrino was director at the time. Patini himself would later encourage the transfer of the valiant pupil to that of Naples on the threshold of his twenties. Having completed his training in the Neapolitan capital (and after a brief attendance at the Michelottian circle in Francavilla) Pellicciotti returned to his native town, where he successfully embodied his pictorial activity, issuing a conspicuous production, but one that was entirely captivating in its themes. Mindful of Palizzi's lesson, he also pays attention to the rural world of his land, depicting rustic interiors and stables, peasants and shepherdesses, cowsheds and stubble, but above all successful figurines of domestic animals caught in a sort of delicate lyricism and surrounded by objects and dishes of everyday life, spagliate chairs and copper basins, onions and hay; there is no shortage of tavern interiors enlivened by popular figures and views "en plein aire" with shepherdesses of sheep and turkeys or even street squares with onion sellers, traveling musicians and umbrella makers with smoking pipes; and again pastoral caravans, hunting scenes and some delicate motherhood. In this pictorial phase Nostro, burdened moreover by a substantial market demand (which indeed was not always matched by equal effectiveness of artistic result), was strongly influenced by another illustrious countryman of his, Francesco Paolo Michetti, which for some is even to be understood as a "sort of subordination" of inspiration. See in this regard the insistent "shepherdesses" posed against the backdrop of tiny perched villages. Admiration for Michetti's genius was later sustained by a true personal friendship for which Michetti did not spare Our Lord public appreciation and sincere esteem. In 1911 Pellicciotti took part in the Libyan campaign to which he not incidentally attached an artistic production of the "orientalist" genre (very much in vogue at that time) which he voluntarily extended throughout 1912. The themes (usually caravans of camels and dromedaries among palm trees and desert) diligently jotted down in the travel notebook are then treated on canvas with the usual levity, almost "fairytale-like" atmosphere and sparkling color rendering. In the course of his career, the painter organized numerous solo exhibitions in various cities in Italy (Rome, Naples, L'Aquila) all of which were received with considerable favor especially by the public but of which no trace remains in catalogs or reviews. He participated, in Italy and abroad, in several group exhibitions curated by art patrons to whom he entrusted his conspicuous production for sale. His de facto works are now in collections all over the world with a certain prevalence of the United States. Tito Pellicciotti died in his hometown of Barisciano on April 12, 1950. A major retrospective exhibition is hosted in the Spanish Fort in L'Aquila from August 3 to 30, 1993. His works nonetheless record a constant presence on the art market and are appreciated by a growing public, despite an initial lack of interest on the part of "educated" critics.
AUCTION 38 - 27 May 2023 at 3 pm - 19th and 20th century paintings
Sale Date(s)
Lots: 50
Venue Address
Via F. Cairoli
Brescia
25122
Italy
Pleace contact the auctioneer for info regarding shipping/pick up.
Important Information
Please check each lot individually for buyer's premium and additonal costs.
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TERMS AND CONDITIONS Santa Giulia Auctions of Samuele Casadio is hereinafter referred to as “Santa Giulia”.
Sales are attributed to the highest bidder and are for “cash”.
Santa Giulia is acting as the consignor in its own name and on behalf of the Vendor, pursuant to article 1704 of the Civil Code. The sale is made between the Vendor and the Buyer; hence, Santa Giulia assumes no liability for buyers or third parties other than that as the consignor. Responsibilities pursuant to articles 1476of the Civil Code remain with the vendors of the works The Auctioneer’s hammer fall, or online auction timed out, marks the conclusion of the contract of sale between the seller and the Buyer.
Lots to be auctioned are to be regarded as second-hand goods supplied as antiques and, as such, do not constitute “products” as defined by art. 3(e) of the Consumer Code (Legislative Decree 6.09.2005 no. 206).
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Antiques may have been restored or subject to changes, such as “all-over painting”: these operations cannot be considered to be latent defects o forgeries of the lot.
Clock movements are not revised.
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We work out the amount as follows:
- 4% between 0 and 50,000.00 euros;
- 3% between 50,000.01 and 200,000.00 euros;
- 1% between 200,000.01 and 350,000.00 euros;
- 0,5% between 350,000.01 and 500,000.00 euros;
- 0,25% over 500,000.00 euros.
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via Cairoli, 26 - 25122 Brescia
