Rare drawing, large format, made by Ernesto Treccani in the second half of the 70s. The peculiarity of this work lies in the presence of different sketches in a single work. Some of the author’s most beloved subjects are represented: wild flowers, landscapes, faces, animals. The simplicity of Treccani’s sign, in this case made with felt-tip pen, is emphasized by the small touches of colour, made with oil pastels. An essential style but at the same time of great expressive strength.
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Ernesto Treccani was born in Milan in 1920, son of the founder of the great encyclopedia of the same name. He entered at a very young age, while he was still studying engineering, in the groups of artistic avant-garde and fascist culture. Founder and director of the magazine Corrente, he exhibited for the first time as a painter at the Bottega di Corrente in 1940 with his friends Birolli, Guttuso, Migneco, Sassu and others; in 1943, still at the Galleria di Corrente e della Spiga, he exhibited a group of works with Cassinari and Morlotti. After the war and the resistance, in which he actively participated, he was editor, together with De Grada, De Micheli, Vittorini and others, of the magazine "Il 45", then animator with Ajmone, Chighine, Francese and Testori, of the group "Pittura" and editor of the magazine "Realismo". His first solo show was in 1949 at the Galleria del Milione in Milan, presented in a monograph edited by Duilio Morosini. In that period he began to travel and paint also in Paris, since then a significant point of reference for his work. In 1950 he participated with black and white works at the Venice Biennale and later, in 1952 and 1956, with personal drawing and painting exhibitions at the 16th and 18th editions. In the same year 1956 he took part in the exhibition of realists organized at the Leicester Gallery in London and held a solo show at the Heller Gallery in New York. The Calabrian peasant reality, known directly during his long stays in Melissa, and the industrial urban landscape of Milan and Paris constituted the fundamental themes of his painting in that period. Also in 1956 he was part of a cultural delegation to China, a trip that greatly impressed him and from which he brought back over a hundred drawings and watercolours. Among the works of the Sixties are the five large canvases inspired by Pavese's "La luna e i falò" (1962/63), the cycle of works "Da Melissa a Valenza" (1964/65), the paintings on the theme of the garden and hedges and the series of watercolours dedicated to a trip to Cuba. Later, in 1976, the great exhibition in Volgograd, Moscow and Leningrad, organized by the Soviet Ministry of Culture. In recent decades he has worked in different places, developing his research in many directions: from the Emilian countryside to the regions of southern Italy, where he worked in Potenza, Matera and Policoro, to the peasant countries of the Ukraine, crossed in the footsteps of Babel's novel in a fantastic journey, inspiring the great canvas "Rosso cavaliere", of 1977. In 1978 Treccani set up the Corrente Foundation, with a programme aimed at collecting and studying documents, testimonies and works from the historical period between the birth of the Corrente movement and the years of Realism, as well as organising meetings, debates, seminars and exhibitions on the most topical themes of contemporary culture. From the 1980s onwards, Nice became one of the places where Treccani often went to paint. With Paris, Macugnaga and Forte dei Marmi, it is one of the usual places for creative living. One of his most important works dates back to the mid-eighties, "La casa delle rondini", about two thousand ceramic tiles that entirely cover the facade of the headquarters of the Fondazione Corrente and the Studio Treccani Collection, in Via Carlo Porta in Milan. Among the most significant works of the years at the turn of the century we also find the great cycles inspired by Cervantes' Don Quixote and Boccaccio's Decameron, intended as evidence of the intense relationship between word and image that has always been a constant aspect of Treccani's research.Read more Close