Vittorini Painting
Beverly Denmark
Emilio Vedova was born on August 9, 1919, in Venice. A Self-taught artist, he briefly attended evening decoration classes at the Carmini confraternity building. In around 1942 he joined the Corrent group, which also included Renato Birolli, Renato Guttuso, Ennio Morlotti, and Umberto Vittorini. Vedova participated in the Resistance movement from 1943. In 1946 he collaborated with Morlotti on the Oltre Guernica manifesto in Milan and was a founding member of the Fronte Nuovo delle Arti in Venice. During this period, he began his Geometrie nere series, black and white paintings influenced by Cubist spatiality.
Guttuso was born on 26 December, 1911 in Bagheria, near Palermo. He is the son of Gioacchino Guttuso, land surveyor and amateur watercolorist, and Giuseppina d'Amico. Guttuso's birth date is often incorrectly listed as January 2, 1912, as this is when Giuseppina reported his birth to the registry office.[3]
Guttuso began signing and dating his works at the age of thirteen. They were mostly copies (nineteenth-century Sicilian landscape painters as well as French painters like Millet or contemporary artists like Carr), but there were also original portraits. In 1928 he participated in his first collective exhibition in Palermo.
Guttuso lived close to a house amongst the Valguarnera villas and Palagonia, which he would soon represent in paintings inspired by the cliffs of Aspra. In Palermo and Bagheria Guttuso observed the dereliction of 18th-century villas previously belonging to the nobility, abandoned to decay as a consequence of political infighting within the municipal chambers. At the same time, his family suffered a period of economic stress because of the hostility shown by Fascists and the clergy towards his father.
In 1931 two of his paintings were accepted by the jury of the Quadriennale di Roma and were included in a collective exhibition of six Sicilian painters at the Galleria del Milione, Milan, which aroused great interest among the Milanese artistic milieu. The paintings were acclaimed by critic Franco Grasso as a "disclosure, a Sicilian affirmation".[5]
Due to his exuberant lifestyle, his friend Marino Mazzacurati nicknamed him "Unbridled Guttuso". He lived close to significant artists of the time: Mario Mafai, Corrado Cagli, Antonello Trombadori, keeping also in contact with the group from Milan of Giacomo Manz and Aligi Sassu.
Having rejected every academic canon, Guttuso joined the Corrente movement and wrote for Corrente di Vita in Milan. The movement was characterized by its strong opposition to Fascist rule and its influence on culture. Here he developed his "social" art, with his political attitudes evident in paintings such as Fucilazione in Campagna (1938) and Escape from Etna, the former of which was dedicated to the poet Federico Garca Lorca, who was shot by Franco's supporters during the Spanish Civil War.
Guttuso continued painting during World War II, with his work ranging from landscape glimpses of the Gulf of Palermo to a collection of drawings entitled Massacri ("Massacres"), that implicitly denounced slaughters such as the Adreatine massacre. In 1940 he joined the clandestine Italian Communist Party and briefly took refuge in Genova, later returning to Rome.
Crocifissione ("Crucifixion"), painted in 1940, is the painting for which he is best remembered and which earned him the second prize in the fourth edition of the Bergamo Prize in 1942. At the time it was derided by the clergy, who labelled Guttuso a "pictor diabolicus" ("devilish painter").[6] The Fascists also denounced it for depicting the horrors of war through the lens of religion. Guttuso wrote in his diary: "this is a time of war. I wish to paint the torment of Christ as a contemporary scene... as a symbol of all those who, because of their ideas, endure outrage, imprisonment and torment".[7] He become an active participant in the partisan struggle in 1943.
After the war, in 1945, Guttuso, along with artists Birolli, Marchiori, Vedova and others, founded the Fronte Nuovo delle Arti (New Arts Front) as a vessel for the promotion of the work of those artists who had previously been bound by Fascist rule. He also collaborated on the magazine Il Calendario del Popolo, established the same year. During this time, he also met and befriended Pablo Picasso. Their friendship would last until Picasso's death in 1973. Socio-political themes dominated Guttuso's work during this area, depicting the day-to-day lives of peasants and blue-collar workers.
Guttuso finished Muratori in riposo ("Workers resting"), an artwork in china ink and watercolour which he had started during the war, a symbol of rebirth of which Pier Paolo Pasolini wrote in 1962:[8]
The shapes of ten workers
emerge white over white masonry
the noon is that of the summer.
But the humiliated flesh
projects a shadow; is the disarranged order
of the white colors, that is faithfully followed
by the black ones. The noon is a peaceful one.
In the following years, Guttuso painted Contadino che zappa (1947) and Contadini di Sicilia (ten drawings published in Rome in 1951), in which his pictorial language became clear and free of all superfluous elements. Guttuso wrote that these were preparatory sketches for his 1949 painting Occupazione delle terre incolte in Sicilia ("Occupation of uncultivated lands of Sicily"), exhibited at the Venice Biennale in 1950. He asserted:
I believe that these are legacies to my deeper and remote inspiration. To my childhood, to my people, my peasants, my father land-surveyor, the garden of lemons and oranges, to the gardens of the latitude familiar to my eye and my feeling, where I was born. Sicilian peasants who hold the primary position in my heart, because I am one of them, whose faces come in front of my eyes no matter what I do, Sicilian peasants so important in the history of Italy.[9]
In 1950 Guttuso joined the project of the Verzocchi collection (in the civic Pinacoteca of Forl), sending a self-portrait, and the works "Sicilian labourer", "Bagheria on the Gulf of Palermo" and "Battle of the Bridge of the Admiral". In the latter, he depicted his grandfather Ciro as a Garibaldine soldier. Guttuso also painted a series from life about the fight of the peasants for occupied lands, the sulfur miners, or glimpses of landscape between cactus and prickly pears, as well as portraits of men from contemporary culture such as Nino Garajo and Bruno Caruso.
In 1953 he participated in the First Trade Union Exhibition of the Roman Provincial Union belonging to the National Federation of Artists of Rome in Via Margutta 54, together with artists such as Antonio Vangelli, Carlo Levi, Pietro Cascella, Corrado Cagli, Carla Accardi, Ugo Attardi, Domenico Purificato and others.[10] In 1956 Guttuso married Mimise Dotti. Poet Pablo Neruda was a witness at their wedding.[7] Mimise would become his confidant and model.
Fascinated by Dante's model, between 1959 and 1961, Guttuso made a series of colour drawings published in 1970 as Il Dante di Guttuso, in which the characters of Hell are revisited as exemplars of human history,[11] confirming the versatility of his talent.[12] Between 1963 and 1964 his paintings were shown at the Peintures italiennes d'aujourd'hui exhibition, organized in the Middle East and North Africa.
In the late 1960s and 1970s, he completed a suite of paintings devoted to the feminine figure, a motif that became as dominant in his painting.[13] Donne stanze paesaggi, oggetti (1967) was followed by a series of portraits of Marta Marzotto, his favourite muse of many years. Famous pieces include the Cartoline, a set of 37 drawings and mixed techniques (published by the Archinto publishing house in the volume Le Cartoline di Renato Guttuso), in which the artist depicted his memories and feelings towards Marzotto.
In 1971 he designed the banner for that year's Palio di Siena. In 1972 he painted I funerali di Togliatti ("The Funeral of Togliatti"), preserved at the Museum of Modern Art in Bologna. In it, various communist figures (most of whom were already dead at the time of Palmiro Togliatti's funeral in 1964) are depicted in an allegorical manner in order to create an ideal representation of the collective communist imagination of the 20th century. In addition to Guttuso himself, Marx, Engels, Trotsky, Elio Vittorini, Angela Davis, Stalin, Lenin, Jean-Paul Sartre, Simone de Beauvoir, Pier Paolo Pasolini and others are also depicted.
Mimise Dotti-Guttuso died on 6 October, 1986. Guttuso was soon to follow his wife. He died in Rome of lung cancer at the age of 75 on 18 January, 1987. On his deathbed, he allegedly embraced Christianity, of which he had been critical of his entire life. Marta Marzotto, in an interview, claimed that Guttuso had always been an atheist.[16] He donated many of his works to his hometown Bagheria, which are now housed in the museum of the Villa Cattolica. His tomb is the work of the sculptor Giacomo Manz.
After speculation about who would be the rightful owner of the painter's work, two prosecutors were appointed to settle the dispute between Guttuso's nephew, his adopted son Fabio Carapezza Guttuso (who had been adopted only four months before Renato's death, was 32 years old and was already recognized as the son of Marcello Carapezza), his longtime lady friend Marta Marzotto, Rome's Museum of Modern Art, along with an assortment of other slighted acquaintances to high-ranking government and church officials.[6] Fabio Carapezza Guttuso was the sole heir to Guttuso's work.