DOMENICO GNOLI
DRAWINGS FOR THE THEATRE 1951-1955



under the patronage of
Regione Umbria
organized and produced by
The Marignoli di Montecorona Foundation
in collaboration with
Domenico Gnoli Archive Rome
Comune di Spoleto
as part of
Festival di Spoleto 60
curators
Michele Drascek
Duccio K. Marignoli
display
Giorgio Gentili
graphic design
M A Y B E Studio - Giovanni di Natale



The exhibition Domenico Gnoli. Drawings for the Theatre 1951-1955 – open September 30 2017 in the Palazzo Comunale of Spoleto, entry free – Is part of a series of exhibitions and catalogues promoted by the Fondazione Marignoli di Montecorona, that have the characteristic of being a ‘study’.
The show Domenico Gnoli. Drawings for the Theatre 1951-1955, in fact, proposes a specific period of Gnoli’s career, one of the most important Italian artists of the twentieth century (Rome, 1933 – New York, 1970); this is the creation of sketches for both scenery and costumes executed between 1951 and 1955, period when he concentrated on his theatrical production in some of the major capitals of theatre in Europe, Rome, Paris and London. This period precedes the artist’s complete dedication to painting and drawing. The Spoleto exhibition will present nearly seventy pieces. All the works have been lent from the Domenico Gnoli Archive of Rome and will include the following: designs for the poster of Chéri by Colette for Andreina Pagnani’s company, represented at the Teatro Eliseo of Rome (1951), the drawings for Re Cervo by Carlo Gozzi (1953), scenery and costumes for La Belle au Bois by Jules Supervielle commissioned to the artist from Jean-Louis Barrault (1954), scenery and costumes for As You Like It by William Shakespeare directed by Robert Helpmann at the Old Vic Theatre in London (1955), and finally sketches for the balcony scene of Romeo and Juliet (1955).

information:
Palazzo del Comune
2 July - 30 September 2017
opening 1 July 2017, 3 pm



Domenico Gnoli (Rome, 1933 – New York, 1970) is one of the most significant artists of the twentieth century Italy, emerging from the "non-eloquent" tradition in Italian art and the creator of details represented on a monumental scale. He was also a talented illustrator, and in his youth, for theatre design. He drew scenery and costumes that had neo-baroque and surrealist characteristics, and from 18 to 22 years old, worked with prestigious directors, and theaters such as the Cesco Baseggio Company (Rome), collaborated with Jean-Louis Barrault (Paris), the Shakespeare Festival (Zurich), and the Old Vic (London). His international success was immediate, nevertheless he abandoned theatre to concentrate on painting, while continuing his graphic output. There began an intense phase as artist and illustrator, exhibiting in America (Sagittarius Gallery, New York, 1956), England (Arthur Jeffress Gallery, Londra, 1957), and Italy (Galleria L’Obelisco, Roma, 1957). He developed a refined pictorial language, described as resulting from metaphysical influences, for example, Klee, Campigli, Dubuffet. In 1964, he finally conceived the ‘gigantic detail’ – enlargements of objects, clothing details, hairstyles. The originality of his painting had no direct ties to his contemporaries. The growing attention paid to him by both critics and the art-public confirmed it. He continued his work as illustrator (recognized by the America Society of Illustrators, 1966), and exhibited his paintings in various occasions (XXII Salon de Mai, Paris; Henie – Onstad Foundation, Høvikodden, Galleria Galatea, Turin, 1966; Documenta 4, Kassel, 1967, Palais des Beaux-arts, Brussels; Sidney Janis Gallery, New York, 1968).

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