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MareMagnum

La Tribuna illustrata. Anno XXVIII - N. 10, 7-14 Marzo 1920

In-folio, pp. 12, con due illustrazioni a colori a piena pagina, una in prima e una in dodicesima pagina, raffiguranti “Le armonie di Trieste. Nel suo palazzo che già ospitò i gloriosi feriti di guerra, Sua maestà la Regina Madre ha voluto udire, attraverso la grande arte di Geni Sadero, le melodiose canzoni popolari di Trieste, gli spontanei canti delle campagne istriane, densi di meravigliosa poesia e di profonda italianità (Disegno di A. Minardi)” (in prima pagina) e “Un uomo in acqua. Il salvataggio, secondo i metodi attualmente prevalenti (Disegno… ammonitore di Filiberto Scarpelli)”, tavola umoristica (in dodicesima pagina). All'interno gli scritti e gli articoli: “La casa dei bisbigli”, romanzo di William Le Queux (continuazione, segue); I nostri concorsi a premio: 13. La scommessa del poliziotto; “Ciò che gli uomini dicono delle donne”; “Al telegrafo”, racconto granguignolesco di Pickwich; “Alla Colonia della salute”; Medicinali e prodotti igienici di fiducia; Attualità quaresimale: “La vita sobria”; “Posa di classe e di altro”, di Filiberto Scarpelli, con 5 disegni in bianco e nero; I nuovi Stati: “La Georgia”, con 4 illustrazioni fotografiche in bianco e nero raffiguranti “Tiflis [Tiblisi, ndc], la capitale della Georgia”, “Donne che preparano scialletti”, “Il mar Nero presso Batum [Batumi, ndc]”, “A Tiflis: un negozio dove si fabbricano cappelli di astrakan detti papachè”; “Come si spara per seminare”, circa l'utilizzo di esplosivi per pulire e livellare i terreni, con 5 illustrazioni fotografiche in bianco e nero raffiguranti “Come si applica l'esca per favorire l'esplosione”, “Una calotta di fango consistente ricopre il carico di dinamite”, “Questo ruscello era tortuoso e poco profondo. La dinamite servì a ingrandire il suo letto con grande beneficio dei terreni coltivi circostanti”, “Il blocco ridotto in frammenti in seguito all'esplosione”, “La cartuccia viene introdotta fino alla profondità del canale”; Il mondo dei capricci; I capricci del mondo. Comenti [sic] alla vita: “La donna e la laurea”; Vade-mecum: "Seguito", poesia di Esopino; Giuochi a premio; La settimana in Italia e all'estero, 3 illustrazioni fotografiche in bianco e nero raffiguranti “L'on. Angelo Pavia, Presidente della Commissione Interalleata di Plebiscito pel territorio di Marienwerder (Berlino)”, “Lo Scià di Persia alle corse, a Roma”, “Il Vice Console Emanuele Graza, reggente il Consolato Italiano in Berlino”; “Le ultime creazioni della moda compaiono alle corse, ai Parioli di Roma, in uno di questi deliziosi pomeriggi primaverili”, 5 illustrazioni fotografiche in bianco e nero raffiguranti signore in abiti eleganti; “La città di Palermo al 6° Fanteria”, una illustrazione fotografica in bianco e nero raffigurante “Scultura di Benedetto d'Amore. Epigrafe di F. P. Mulè”; “Come i tedeschi tentavano di demoralizzare il nemico”, una illustrazione fotografica in bianco e nero raffigurante “Due strani tipi di proiettili lancia… manifesti”; Le bare e le mammole, novella di Auro d'Alba. Pagine con inserzioni pubblicitarie. Fascicolo completo.

NIKO PIROSMANI.MareMagnum

Pirosmani. A legend in naive art.= Naif sanatta bir efsane. [Exhibition catalogue]. Edited by R. Baris Kibris. Curated by Irina Arsenishvili.

New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 123 p., color ills. "Since its establishment, Pera Museum has hosted works by several outstanding artists representing different genres. In 2007, the museum opened its doors to one of the most intriguing creative artists in the world, the Georgian peasant painter Pirosmani. This exhibition of Pirosmani's naïve paintings took us on a journey through joyous feasts of colour, scent, and forms, through the blossoming meadows, villages, and animals of a neighbouring country. Recognized only by his immediate circle while he was still alive, Pirosmani gained acknowledgment in the 1920s and 30s, particularly in the Western art circles, in which primitive and naïve artists were starting to be appreciated. Since then, his paintings continue to fascinate art connoisseurs in the world with their unprecedented sincerity and charm. Niko Pirosmani (1862-1918) was born to a peasant family in one of the regions of Georgia - Kakheti, in the village of Mirzaani. During his life, most of which he spent in Tbilisi, he never received any professional education. In 1882, he opened a studio with another painter, Gigo Zaziashvili, accepting commissions for signboards. However, the partners soon went bankrupt. For mere subsistence, he occasionally worked in Tbilisi 'dukhans' (tavern), or at the rail station, dying in poverty in Tbilisi, in 1918. Art was the goal of his whole being, his life's vocation. Towards the end of the 1890s, he devoted himself exclusively to painting. Pirosmani's life was hard and tragic. The artist was homeless and lonely. Whenever he could afford it, he would rent a small room in the basement or under a staircase. Often, he would spend the night where he worked. Pirosmani passed away in loneliness and obscurity in 1918. Even the location of his grave remains unknown. As it usually is the case, after his death, the artist's works were collected and bought, references about his life were sought, and publications started to flood the newspapers. Pirosmani's name and his works were famed and appreciated worldwide. Pirosmani's paintings speak for the great mastery of the artist. Most of them are performed on black oilcloth, which was his technological expertise. It is known that Pirosmani created quickly; it only took him several hours or days to paint. He worked rapidly and spontaneously. A certain clue to unveiling Pirosmani's artistic conception is the inscriptions and names on the paintings, the meaningful connotation of which defines the artistic order of the painting. In each specific case, the common compositional structure, time, space interpretation, rhythm, manner of conveying the form and colour expression directly respond to the defining role of the artistic image. Pirosmani, as an artist, was first discovered in 1912 by Ilya Zdanevich (Ilyazd), a poet and an active representative of Georgian, Russian and European avant-garde, along with his brother artist Kiril Zdanevich, and the artist Michael Le Dantiu. At the avant-garde exhibition 'Mishen' (Target) held in Moscow, in 1913, Ilya Zdanevich presented Pirosmani's works to the public for the first time and began promoting the artist through different publications thereafter. He also arranged an exhibition for Pirosmani in his art studio in 1916. Interest towards Pirosmani grew considerably. The same year, he was invited to the meeting of 'Georgian Artists' Society.' The artist's photograph and a reproduction of his painting were published in the newspaper 'Tsnobis Purtseli' ('Messenger'). Pirosmani was starting to be recognized by Georgian artists and the public. Today, Pirosmani is known across the world and his art has long reached beyond the borders of his native country.".

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR22,25 €