47
"Pescatori ad Amalfi" - Pietro Scoppetta
1/5
Beschreibung
(Amalfi (SA) 1863 - Napoli 1920)
Cm 47x29,5 | In 18.50x11.61
Oil on canvas
Devoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.
Cm 47x29,5 | In 18.50x11.61
Oil on canvas
Devoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.
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(Amalfi (SA) 1863 - Napoli 1920)
Cm 47x29,5 | In 18.50x11.61
Oil on canvas
Devoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.
Cm 47x29,5 | In 18.50x11.61
Oil on canvas
Devoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.
AUKTION 38 – 27. Mai 2023 um 15 Uhr – Gemälde des 19. und 20. Jahrhunderts
Auktionsdatum
Lose: 50
Ort der Versteigerung
Via F. Cairoli
Brescia
25122
Italy
Pleace contact the auctioneer for info regarding shipping/pick up.
Wichtige Informationen
Please check each lot individually for buyer's premium and additonal costs.
AGB
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- 4% between 0 and 50,000.00 euros;
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via Cairoli, 26 - 25122 Brescia
