Ritratto di donna con Pelliccia – Guido Cadorin

Ritratto di donna con Pelliccia – Guido Cadorin

donna con pelliccia

RITRATTO DI DONNA CON PELLICCIA” (Portrait of a Woman with Fur) (1941, cm120x95) by Guido Cadorin (Venice June 6th, 1892 – Venice August 18th, 1976). He participated in the most important art exhibitions in the world (Milan, Galleria Pesaro 1923, Amsterdam and Rotterdam 1924, New York 1925, Bruxelles 1930). In 1934 he had a full wall at the Venice Biennale. In 1928 he became Professor at the Academy in Venice and in 1936 he was appointed Chair of Painting. In 1938 and 1942 he had a full room at the Biennale. In 1949-1950 he took part in building up the important Verzocchi collection that dealt with the topic of work and, together with a self-portrait, he set up Pittori di Barche (Painters of boats). Besides his painting activity he then became a fresco painter and a mosaicist.

In 1910 he set off on a study trip to Florence and at the same time a very famous Ritratto della Madre (Portrait of his Mother) (Venice, private collection) let him become an acclaimed painter and Gino Rossi’s friend. In 1911 he became one of the Italian artists who were invited to exhibit at Valle Giulia on the occasion of the international art exhibition: he had the chance to meet Klimt once more, he became acquainted with the Spanish painting and experienced the novelties of the European art; after coming back to Venice (1911) he got a letter from Marinetti, he was invited to welcome Futurism but he denied.

Portraits were his forte: his mother’s had really catalyzed the attention of art critics in Rome; in 1911 the portrait of Livia Tivoli Fiorucci (a painter he married in 1917) was exhibited in Milan at Cafè Cova among the so-called “Rifiutati di Brera” (those that were rejected by Brera) and his father’s was introduced at the Carnegie Institute in Pittsburgh.

The outstanding contribution offered by the painter Guido Cadorin originated from the art culture of the Italian Liberty, through the Central European secessionism up to the Magic Realism and the Novecento Movement. He took part in the greatest worldwide art exhibitions and events (Pesaro Gallery, Milan, 1923, Amsterdam and Rotterdam 1924, New York 1925 and Bruxelles 1930).

Impressed by his art in 1924, Gabriele D’Annunzio entrusted him with the decoration of his bedroom, the so-called “Zambra del Misello” (the Room of the leper), in his Vittoriale Villa (The shrine of Italian victories). In 1925 the Art Biennal of Monza still welcomed his ceramics. Among the key pillars of his artworks (La Beghina, 1909, L’Idolo, 1911, the famous triptych “Carne, carne, sempre carne”, 1914, the sophisticated Lagoons of the ‘20s) are some impressive portraits and self-portraits such as “Donna in Pelliccia” (Woman with fur) or “Fanciulla seduta” (Child in chair) (1909), “Collana di Perle” (Pearl necklace) (1928), “Donna con la collana” (Woman with the necklace) (1929), “Mia Sorella” (My sister) (1930), “Solitudine” (Solitude) (1957).

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