Item description
Etching and aquatint "Mask" by Roberto Marcello (Iras) Baldessari (Innsbruck, 1894 – Rome, 1965), 1920. Artist trained at the Academy of Fine Arts in Venice under the guidance of Guglielmo Ciardi (Venice, 1842 – Venice, 1917 ) and pupil of Emanuele Brugnoli with whom he perfected the design and approached engraving techniques. He develops a futurist language that starts from the study of artists such as Boccioni, Depero, Marinetti and others known during his travels between Rome, Milan and Florence. In 1915 he attended the Caffè Giubbe Rosse in Florence, meeting Lega, Campana and Rosai. He tackles both futurist subjects and figuration in the wake of Ottone Rosai. At the beginning of the twenties he was in Germany and confronted the artists Aleksandr Porfirevi Archipenko and Kurt Schwitters, acquiring a palette rich in contrasts and simplifying the forms. Between 1920 and 1925 he stayed in Europe. In Germany, France and Spain he approached the Dadaist and abstract movement and created mainly landscapes and etchings. The sheet shows a Pierrot mask intent on playing a guitar. The volumes are broken down according to the rules of Futurism. The composition belongs stylistically to a group of plates that Baldessari engraved in the 1920s, still lifes or rigorously futurist landscapes. Bottom right engraved form: R. M. Baldessari. Beyond the image below in pencil: prova di Stampa e R M Baldessari. One of only five print tests made by Baldessari at the time. A print run of 30 copies numbered and signed in pencil is known to have been made no earlier than 1959 (one copy in the Pisa Cabinet of Drawings and Prints of the University of Pisa-Museo della Grafica). Excellent impression with silvery gray background glaze. Wide margins, uncut sheet. Excellent state of conservation, traces of old assembly on the reverse. Bibliography: Maurizio Scudiero (a cura di), Roberto Marcello Iras Baldessari: pittore e incisore, 2002; G. Marini, F. Parini (a cura di), I futuristi e l'incisione/il segno dell'avanguardia, Silvana Editoriale, 2018, n. 74.
ID: 11318-1715177684-90203
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