Filippo de Pisis

Luigi Filippo Tibertelli de Pisis (Ferrara, May 11, 1896 – Brugherio, April 2, 1956) was an Italian painter and writer, one of the greatest interpreters of Italian painting in the first half of the twentieth century

De Pisis begins an adolescent to write poetry, but also dedicates himself to studying painting under the guidance of master Odoardo Domenichini in his hometown of Ferrara, and it is painting that leads him to live an adventurous and passionate life in various cities Italians Rome, Venice and Milan, both European and Paris

In 1915 he met De Chirico and his brother Alberto Savinio in Ferrara for military service and in 1917 Carlo Carrà Conosce and became excited by remaining suggestive of their way of conceiving painting and initially shared the metaphysical style but then short stays in Rome and Paris at the beginning of the 1920s opens up new pictorial horizons He begins to redraw his style of original suggestions and subjects, where the pictorial trait becomes almost syncopated, defined by Eugenio Montale as “fly-paw print” Friendship With Julius Evola allows him to deepen his esoteric interests and to transfer them to modern art De Pisis after writing prose, lyric and poetry collected in Canti de la Croara and Emporio in 1916, in 1920 he started writing the essay The city from 100 wonders, published after Rome in 1923, where you can see the influence of the De Chirico brothers with their nostalgic and melancholic vision of Painting Looking for new stimuli moves back to Paris in 1925 The stay lasted for fourteen years without interruption and became profitable in many ways, and was essentially artistic in the hands of Conosce Édouard Manet and Camille Corot, Henri Matisse and Fauves, for more gestural use Of color and, in addition to the still-life, paints in the Parisian period urban landscapes, nude men and hermaphrodite images

In 1926 de Pisis made his own personal presentation by Carlo Carrà at the Lidel Hall in Milan and in the wake of his success, he was able to exhibit his first Parisian personal exhibition at the Galerie au Sacre du Printemps with the presentation of De Chirico, continuing to exhibit Also in Italy and begins to write articles for Italian Literary and other minor magazines Established an intense relationship with the painter Onofrio Martinelli, already met in Rome Between 1927 and 1928 the two artists also shared a studio house in rue Bonaparte He then joined the “Italians of Paris”, a group of artists including de Chirico, Savinio, Massimo Campigli, Mario Tozzi, Renato Paresce and Severo Pozzati, and French critic Waldemar George (who in 1928 cares for the first monograph Su de Pisis) presents the “Appels d’Italie” exhibition at the Venice Biennial of 1930 During the Paris period, visit London for short stays that will repeat three times, shrinking amiciz ratios With Vanessa Bell and Duncan Grant

In 1939, when he returned to Italy, De Pisis, on the occasion of the St. Vincent Prize, spent a summer in the Valdostan town where he also had the opportunity to meet the local painter Italo Mus. He settled in Milan and, following the destruction of his studio in Via Rugabella in 1943, settles in Venice where it is inspired by the painting by Francesco Guardi and other Venetian masters from the 18th century. He participates in the cultural life of the lagoon city, where he was a friend and master of the painter and fellow countryman Silvan Gastone Ghigi. A short stay in Paris between 1947 and 1948, begins to reveal the first symptoms of atherosclerosis that forced him to go to a clinic near Brugherio Dipinge until 1953, after which precarious health conditions will no longer allow him to Work and on 2 April 1956 he died in Brugherio

The work of Filippo de Pisis suffers from the phenomenon of falsification since the 1940s, he was alive

The pictures painted by the artist are more than drawn, evoked and surrounded by a continuous poetic climate, as is evident from the Parisian, London, Venetian, naked, and large bouquets of flowers (indicative: Flowers of 1928 and Quai de Tournelle, 1938) He will also take some portraits, well known is that of his friend Mariano Rocchi of 1931, now kept in the Museum of the Novecento of Milan

In 1949-1950, de Pisis adhered to the project of the important Verzocchi collection on the subject of work, sending, besides a self-portrait, the work Piccolo smith The Verzocchi collection is kept at Romagnoli palace in Forlì, home of the collections of the twentieth century

Even the works of his last period (a slow illness consumed him in a Milanese clinic, villa Fiorita in Brugherio) are affected by an exceptional poetic intensity, a clear opposition to every form of classicism, his extraordinary qualities of colorist who pose it Among the greatest contemporary painters