Antonio Donghi
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Antonio Donghi
(b Rome, 16 March 1897; d Rome, 16 July 1963). Italian painter. He studied painting at the Istituto di Belle Arti in Rome (1908-16) before military service in France. In the post-World War I 'return to tradition' of the Scuola Romana he shared an interest in 17th- and 18th-century painting with Francesco Trombadori (1886-1961) and Carlo Socrate (1889-1967), with whom he exhibited at the Rome Biennale of 1923. In one-man shows a year later, at the Sala Stuard and Galleria Bragaglia in Rome, Donghi exhibited the important commedia dell'arte painting Carnival (1923; New York, priv. col., see 1985 exh. cat., p. 104). The critic Ugo Ojetti saw his clear realism and choice of subject-matter (people, still-lifes and cityscapes) as egalitarian and related to Caravaggesque influences. The disconcerting immobility of his figures (e.g. Woman at the Window, 1926; Florence, Pitti) also drew comparisons with the work of Seurat and of Henri Rousseau, and it was identified as 'magic realism' by Franz Roh (Expressionismus, magischer Realismus, Leipzig, 1925).
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Antonio Donghi
Antonio Donghi (March 16, 1897 – July 16, 1963) was an Italian painter of scenes of popular life, landscapes, and still life.
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Biography
Born in Rome, he studied at the Instituto di Belle Arti. After military service in World War I he studied art in Florence and Venice, soon establishing himself as one of Italy's leading figures in the neoclassical movement that arose in the 1920s. Possessed of an extremely refined technique, Donghi favored strong composition, spatial clarity, and unpretentious subject matter. His figures possess a gravity and an archaic stiffness reminiscent of Piero della Francesca, but a closer comparison may be made to Georges Seurat, whose scenes of contemporary life are similarly touched with a subtle humor. His still lifes often consist of a small vase of flowers, depicted with the disarming symmetry of naive art. Donghi achieved both popular and critical success, in 1927 winning First Prize in an International Exhibit at the Carnegie Institute in Pittsburgh.
By the 1940s, Donghi's work was far outside the mainstream of modernism, and his reputation declined, although he continued to exhibit regularly. In his last years he concentrated mainly on landscapes, painted in a style that emphasizes linear patterns. He died in Rome in 1963.
Most of Donghi's works are in Italian collections, notably the Museo di Roma.
References
- Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910-1930. London: Tate Gallery. ISBN 1-85437-043-X
Other projects
Media related to Antonio Donghi at Wikimedia Commons
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