Still Life with fruit, 1946

by Gino Severini

DIMENSIONS: (unframed) 8.0 x 11.0 ins/ 20.3 x 28.0 cm
SIGNATURE: Signed lower right and dedicated ‘affectueux souvenirs à mon vieil et cher ami Schleffer Paris 1946’
MEDIUM: Pen and ink on paper

Here, Gino Severini has assembled the customary accoutrements of a still-life- platters of fruit, a basket and a teapot- to create a dynamic composition. The fluid lines of the teapot contrasts with the solid forms of the fruit platters and the angular lines of the table adding to the vitality of the work. This work is noticeably flat and there is a sense of the decorative in the depiction of the still-life elements.

Catalogue No: 4720 Categories: , ,

By the end of 1916, Severini had embraced the enduring still-life themes and comparatively stable, geometric structure of synthetic Cubism. Here, the interest in cubism is seen by the table but the focus is on the still life composition which retains its elemental charm.

Severini wrote in his autobiography that “uneasy and dissatisfied with myself, put aside my dancers and started painting static things, deeming it undignified to facilitate my work with subjects,…. In other words, I was striving for a dynamic art capable of reaching its maximum potential, but I also wanted to express a universal dynamism using any random subject”. This dynamism is seen here in Still Life with fruit with its energetic depiction of everyday objects.

On the lower right hand side, an inscription reads that the drawing was composed in Paris. In his autobiography, Severini wrote that the cities to which he felt “most strongly bound are Cortona and Paris… born physically in the first, intellectually and spiritually in the second.”

Provenance

Stoppenback and Delestre, London;
Private Collection, United Kingdom

Buy with confidence: our assurance to you

Professional Associations

We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously with enforced Codes. Our memberships and commitment to its Code of Conducts, gives our buyers confidence when purchasing a work from us.

Authenticity

Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.

Artwork images

We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high quality images to reflect the high quality of our artworks.

Your purchase process

Payment processing – You can be assured that payments are securely processed through Worldpay’s trusted payment gateway.

The Trinity House promise to you

Shipping and packaging

Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.

Our After Sales services

We offer the following services which we will be happy to discuss with you following your purchase, alternatively you can enquire for more information.

Insurance

We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.

Framing

We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.

Conservation

The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.

Biography

Gino Severini was born on 7th April, 1883, in Cortona, Italy. He studied at the Scuola Tecnica in Cortona before moving to Rome in 1899, where he attended art classes at the Villa Medici. By 1901 Severini had met Umberto Boccioni, who had also recently arrived in Rome, and who would later would be one of the theoreticians of Futurism. Together, they visited the studio of Giacomo Balla, where they were introduced to painting with “divided” rather than mixed colour. After settling in Paris in November 1906, Severini studied Impressionist painting and met the Neo-Impressionist Paul Signac.

 

Severini moved to Paris in 1906 and studied Impressionist painting and would become friends with Neo-Impressionist Paul Signac. He would later make the acquaintance of most of the Parisian avant-garde such Georges Braque, Juan Gris, and Amedeo Modigliani. He also came to know the French actor and director Lugné-Poë and his theatrical circle as well as the poets Guillaume Apollinaire, Paul Fort, and Max Jacob. After joining the Futurist movement at the invitation of Filippo Tommaso Marinetti and Boccioni, Severini signed the Manifesto tecnico della pittura futurista of April 1910, along with Balla, Boccioni, Carlo Carrà, and Luigi Russolo. However, Severini was less attracted to the subject of the machine than his fellow Futurists and frequently chose the form of the dancer to express Futurist theories of dynamism in art.

 

Severini helped to organize in 1912 the first Futurist exhibition at Galerie Bernheim-Jeune in Paris and participated in subsequent Futurist shows in Europe and the United States. In 1912, solo exhibitions of his works were also held at the Marlborough Gallery, London, and Der Sturm, Berlin. During the Futurist period, Severini acted as an important link between artists in France and Italy. After his last truly Futurist works—a series of paintings on war themes—Severini painted in a Synthetic Cubist mode, and by 1920 he was applying theories of classical balance based on the Golden Section to figurative subjects from the traditional commedia dell’arte.

 

After 1920, Severini divided his time between Paris and Rome. He explored fresco and mosaic techniques and executed murals in various mediums in Switzerland, France and Italy. In the 1950s, he returned to the subjects of his Futurist years: dancers, light, and movement. Throughout his career, Severini published important theoretical essays and books on art. Severini died on 26 February in Paris.

You may also like…

Be the first to hear our news about exhibitions

Sign-up for the Trinity newsletter