{"id":10963,"date":"2024-05-03T16:31:52","date_gmt":"2024-05-03T14:31:52","guid":{"rendered":"https:\/\/www.carlovirgilio.it\/?post_type=opera&p=10963"},"modified":"2024-05-03T16:31:52","modified_gmt":"2024-05-03T14:31:52","slug":"venanzo-crocetti-david","status":"publish","type":"opera","link":"https:\/\/www.carlovirgilio.it\/en\/opera\/venanzo-crocetti-david\/","title":{"rendered":"Venanzo Crocetti – David"},"content":{"rendered":"

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Venanzo Crocetti<\/h3>\n

Giulianova 1913 – Rome 2003[\/vc_column_text][vc_text_separator title=”” i_icon_fontawesome=”far fa-object-group” i_color=”grey” i_size=”sm” align=”align_left” color=”custom” el_width=”70″ add_icon=”true” accent_color=”#d0d7da”][vc_column_text]<\/p>\n

David <\/em>\u2022 1935<\/h3>\n

Bronze, 120 x 60 x 92 cm<\/p>\n

Signed and dated on the side of the trunk: CROCETTI \/ 35<\/p>\n

Essential Reference Bibliography:<\/p>\n

XXI Biennale Internazionale d’Arte di Venezia 1938 \u2013 XVI,<\/em>\u00a0exhibition catalogue (Venezia, Palazzo dell\u2019Esposizione, 1\u00b0 giugno-30 settembre 1938), Venezia 1938, p.\u00a0 116;<\/p>\n

M. Venturoli, Crocetti<\/em>, Roma 1972, p. 8, ill. 7<\/p>\n

E. Carli, Crocetti<\/em>, Roma 1979, p. 15<\/p>\n

Scultura lingua morta \/ Dead Language Sculpture,<\/em>\u00a0exhibition catalogue (Leeds, Henry Moore Institute 31 maggio – 31 agosto; Museo di arte moderna e contemporanea di Trento e Rovereto 28 ottobre – 14 dicembre 2003), a cura di P. Curtis, 2003, ill. pp. 38, 108<\/p>\n

Documents catalogued at nos. 19380615 | 19380910 | 19390609 in the Biblioteca Antonio Tancredi at Museo Crocetti, Rome<\/p>\n

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An artist with a long and prolific career, studded with recognition and commissions from all over the world \u2013 in particular, the victory in 1950 for one of the doors of St. Peter\u2019s Basilica, the works for San Paolo del Brasile, solo exhibitions in Canada and Japan, the room dedicated to him at the Hermitage Museum, St. Petersburg, in 1991 – Venanzo Crocetti passed through the twentieth century with a language that places the figure – human or animal \u2013 at its centre.<\/p>\n

Despite very humble origins, Crocetti\u2019s precocious talent soon attracted attention and by 1932 he had won the National Sculpture Competition at the Accademia di San Luca in Rome. The following year he received an award at the Esposizione Nazionale di Firenze, a success that guaranteed him an invitation to participate in the Biennale di Venezia in 1934. Thus, when four years later, in 1938, at the XXI Biennale, with a selection of eight works, including this David, <\/em>of decidedly personal iconography, he won the prize for sculpture, despite his young age, he could already be considered an established sculptor \u2013 the catalogue stating that \u2018From 1930 he exhibited at all the national and international exhibitions.\u2019<\/p>\n

Crocetti\u2019s early production is undoubtedly in the path of archaic reflection turned to taking up antiquity in an anti-heroic and anti-academic key, which developed in Italy from the twenties and within which the language of Arturo Martini (1889-1946) is the most representative expression – although, as the artist declared on several occasions, what interested him was more the horizon \u2018where he looked,\u2019 rather than the plastic achievement of the sculptor from Treviso. His \u2018distant\u2019 relationship with Martini is enriched then by an encounter in 1935 at the villa of the great patrons and collectors Ottolenghi Wedekind \u2013 who did not fail to buy works by Crocetti \u2013 and by a symbolic passing of the baton when in 1946, following the sudden death of the maestro from Treviso, for distinguished reputation, Crocetti succeeded him on the chair of sculpture at the Accademia di Belle Arti in Venice. In the cultural context of Crocetti\u2019s training, the works of the other great figurative figures of the time shouldn\u2019t be overlooked: Giacomo Manz\u00f9 (1908-1991), Marino Marini (1901-1980) and Francesco Messina (1900-1995). However he moves away from them all for the strong architectonic sense of the firm structure of volumes on which his vigorous and terse modelling emerges, based on a heartfelt inspiration of what is popular, archaic and remote, with no lyrical accents, and yet animated by strong and intense spirituality.<\/p>\n

In David,<\/em> shown at the 1938 Biennale di Venezia, we find one of the most complete expressions of the robust plasticity of an archaic stamp in the early phase of Crocetti\u2019s work. The sloping of plastic planes, simplified in an efficacious linearism, becomes sharper without losing naturalistic quality \u2013 notable in this sense, for example, is the emphasised relief that lets the bone structure of the back and tense muscles of the torso and arm emerge. Sealing the relationship with antiquity is the posture recalling Hermes at Rest<\/em> from the Museo Archeologico Nazionale of Naples, and the presence of the wide, rigid brim, certainly inspired by the ancient Greece petasus, but that also suggests the one worn by Guerriero di Capestrano<\/em>, a mysterious Italic sculpture dating back to the VI century BCE, found in 1934 in Abruzzo, the land of origin for which Crocetti held affection.<\/p>\n

The David <\/em>shown in Venice was bought by the Italian State for the then Regia Galleria degli Uffizi in Florence (today held in Palazzo Pitti) after a brief negotiation \u2013 as can be seen in the documents conserved at the Biblioteca Tancredi in Museo Crocetti, Rome.<\/p>\n

The sculpture in question is another exemplar, autograph, on which origin Crocetti write as follows in a letter dated 5 October 1953 addressed to the painter Giulio Marchetti in Lucca: \u2018An enthusiast insisted greatly on having a copy: and I indulged him, giving it a few re-touches, as far as I can remember.\u2019<\/p>\n

Eugenio Maria Costantini<\/p>\n

\u00a0<\/a><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#d0d7da”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10955″ img_size=”large” onclick=”img_link_large” img_link_target=”_blank”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text el_class=”wpb_text_autore-opera”] Venanzo Crocetti Giulianova 1913 – Rome 2003[\/vc_column_text][vc_text_separator title=”” i_icon_fontawesome=”far fa-object-group” i_color=”grey” i_size=”sm” align=”align_left” color=”custom” el_width=”70″ add_icon=”true” accent_color=”#d0d7da”][vc_column_text] David \u2022 1935 Bronze, 120 x 60 x 92 cm Signed and dated on the side of the trunk: CROCETTI \/ 35 Essential Reference Bibliography: XXI Biennale…<\/p>\n","protected":false},"featured_media":10956,"template":"","autore":[880],"tipologia_opera":[80],"ambito_opera":[84],"data_opera":[356],"disponibilita_opera":[479],"titolo_mostra":[],"tag_mostra":[],"class_list":["post-10963","opera","type-opera","status-publish","has-post-thumbnail","hentry","autore-crocetti-venanzo-1913-2203","tipologia_opera-recent-acquisitions","ambito_opera-sculpture-en","data_opera-356","disponibilita_opera-disponibilie","description-off"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/opera\/10963","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/opera"}],"about":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/types\/opera"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/media\/10956"}],"wp:attachment":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/media?parent=10963"}],"wp:term":[{"taxonomy":"autore","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/autore?post=10963"},{"taxonomy":"tipologia_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/tipologia_opera?post=10963"},{"taxonomy":"ambito_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/ambito_opera?post=10963"},{"taxonomy":"data_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/data_opera?post=10963"},{"taxonomy":"disponibilita_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/disponibilita_opera?post=10963"},{"taxonomy":"titolo_mostra","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/titolo_mostra?post=10963"},{"taxonomy":"tag_mostra","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/tag_mostra?post=10963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}