$316.0 Buy It Now or Best Offer
free,30-Day Returns
Seller Store photovintage
(5639) 100.0%,
Location: Bishopville, Maryland
Ships to: US,
Item: 266174602603
Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Artist:Alfredo Avitabile (Italy, 1937 – 2009)
Unit of Sale:Single Piece
Signed By:Alfredo Avitabile (Italy, 1937 – 2009)
Size:Small
Signed:Yes
Material:Acrylic
Framing:Framed
Subject:Cityscapes
Type:Painting
Original/Licensed Reproduction:Original
Features:One of a Kind (OOAK)
Production Technique:Oil Painting
Country/Region of Manufacture:Italy
Handmade:Yes
You are bidding on a wonderful small Italian Oil on board by Artist Alfredo Avitabile. It measures approximately 7.5 inches by 5 inches framed. Interesting cityscape possibly Naples with green Tram in the background. Excellent condition and free of damage. Original vintage frame.Signed in the lower right hand corner. I ship worldwide. Professional shipping guarantees swift and safe delivery to your door. Email me with questions. Good luck. ITALIAN MODERN AND CONTEMPORARY ART – NEAPOLITAN PAINTERS OF THE 20TH CENTURY – ORIGINAL ACRYLIC ART ALFREDO AVITABILE (NAPLES, 1937 – 2009) VIEW OF A CITYSCAPE – BUILDINGS AND TRAM – ACRYLIC PAINTING ON BOARD SIGNED LOWER RIGHT “A. AVITABILE” PAINTING IN ITS ORIGINAL GOLD LEAF WOODEN FRAME. ALL IN VERY GOOD CONDITION. FRAME MEASURES: 5 INCHES HEIGHT X 7.375 INCHES WIDTH BIOGRAPHICAL AND ARTISTIC NOTES: Alfredo Avitabile was born in Naples on 16 February 1937, to the painter/gallerist Emilio Maria and Emilia Russo. Under the guidance of Maestro Guido Casciaro, he attended the ‘Filippo Palizzi’ Art Institute in Naples and later the Academy of Fine Arts in Rome. Here he met and frequented the great master Renato Guttuso, whose influence would certainly reveal itself later in the works of his full maturity and in his choice of New Figuration.Avitabile moved around Rome with such fluency and ease, as a consummate artist and man, that he impressed both his peers and older masters; even Carlo Carrà wrote of him: ‘The passion for painting in Alfredo Avitabile has the rhythm of a torrent, and torrents frighten. The harmony of his art is the most valid, essential prerequisite for lofty goals, attainable certainly; but between the fury of earthly and divine design’. Between 1957 and 1968, Alfredo Avitabile, literally grinds, group exhibitions, Awards, Competitions, Extemporaneous and Personal exhibitions, at such a high rate that he has more than eighty appearances in the national sphere to his credit. His painting, in these years, wanders between the legacies of naturalism that perhaps derive from his father’s and Casciari’s lesson, but more generally Neapolitan, and new instances, personally intuited and experimented with with attempts suspended between Informal, Pop and Symbolism, of which very rare pictorial testimonies remain. Avitabile searches with innate impetus for his own mode of expression, a style that is uniquely his own, and dwells on themes that are partly classical (landscapes, figures), partly new (with colouristic and formal experimentation), but always sustained by a rapid, powerful, incisive drawing, as Carrà’s authoritative review had already noted. His palette is quite essential, with saturated, mellow tones of effective pictorial synthesis. He prefers blues, soft purples, warm greens juxtaposed with cold ones, and white when barely pink. Piero Girace (critic for the daily newspaper ROMA), reviewing one of his solo exhibitions, emphasised: ‘His painting bears the signs of the artist’s restlessness and stubbornness. He presents forty paintings inspired by various motifs (memories of travels, impressions, occasions), which are truly interesting and above all indicative of a poetic world, which was born and developed in a culturally European pictorial climate, although rooted, for reasons of blood and instinct, in the Neapolitan tradition. But Alfredo Avitabile is varied, very sensitive to climates and motifs, to whose suggestions he does not escape. Landscapes, figures, compositions, still lifes, are realised with sensuality of impasto, with broad, full-bodied brushstrokes, often with an impetuosity that reveals the temperament of an artist who indulges in motifs with unbridled boldness and a remarkable sensual charge. The sudden death of his wife substantially changed his artistic vision.His painting changes with him. From the 1970s onwards, it is no longer representative of places, objects or people, it becomes dialogical and symbolic, sometimes hermetic. Avitabile no longer looks at external reality, he closes in on himself and identifies a deeper inner life, more full of meanings: from being a painter of reality, albeit filtered and interpreted in his own way, he becomes a ‘committed’ painter, a painter in search of senses and meanings. Therefore, the New Figuration, the only pictorial movement in conceptual Italy in the 1970s, certainly had Alfredo Avitabile as one of its protagonists in the southern area. In 1971, no less than four personal exhibitions, held in various Italian cities, sanctioned the radical turning point in the Maestro’s artistic commitment. The reviews of the time agreed on the unprejudiced and non-conformist aspect of Avitabile’s painting, in the courage to express his own ideas with determination and clarity even at the cost of being highly unpopular. A harsh, polemical, daring exhibition that in some works judges and condemns men, facts, myths and characters, while in others it reveals that constant conflict between conscience and subconscious, that existential malaise that the artist experiences on himself, searching for a way out, a new hope for the future. Having finally recovered a long-sought inner stability, the painter is fully committed to the ‘Odissea 75’ cycle, making his greatest creative contribution in support of the New Figuration artistic movement. The cycle represents a profound reflection on the human condition, in an era fraught with contradictions and disorientation, but it also signifies the commitment of a counter-current painter, who demonstrates how it is possible to be current and contemporary without renouncing the pictorial instrument and the aristocracy of form at all costs. The figure of Ulysses, already a metaphor of man since the time of Homer, becomes, in Avitabile’s post-’68 cycle, the contemporary man now adrift, without certainties and objectives, mortified in ideology, at the mercy of terrorism, perennially poised between victory and surrender, in a world that is already virtual and repetitive, which seems to be slipping out of his grasp with little or no hope of a future. Alfredo Avitabile expresses these contents with compositions, figures and landscapes with intense, mysterious, sometimes heavy colours, indicative of a latent pessimism about man’s destiny and the fundamental values of civil society, which in the meantime was rapidly changing.Once the stormy decade of the 1970s was over, Alfredo Avitabile, like other artistic practitioners, felt almost drained and eager to redefine the parameters of his natural creative talent. He therefore returned to drawing as an immediate creative expression, suspended between thought and action, and to drawing taken from life – in real life – as a necessary ‘surprise’ confrontation with the model, the object of a sort of ethological investigation. In 1987, the personal exhibition Solintimeros, brought together the most representative works of this new productive phase. After this Solo Exhibition, Avitabile’s pictorial activity gradually thinned out. In his last years, he founded the Giacinto Gigante Academy, which remains an important and essential reference point for all experts and enthusiasts of 19th and 20th century Neapolitan art. The artist died in Naples in 2009.
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