{"id":9062,"date":"2020-06-30T22:43:41","date_gmt":"2020-06-30T20:43:41","guid":{"rendered":"https:\/\/www.carlovirgilio.it\/?post_type=opera&p=9062"},"modified":"2022-01-31T18:15:16","modified_gmt":"2022-01-31T16:15:16","slug":"luigi-trifoglio-portrait-of-the-surgeon-gino-pieri","status":"publish","type":"opera","link":"https:\/\/www.carlovirgilio.it\/en\/opera\/luigi-trifoglio-portrait-of-the-surgeon-gino-pieri\/","title":{"rendered":"Luigi Trifoglio – Portrait of the\u00a0Surgeon Gino\u00a0Pieri\u00a0"},"content":{"rendered":"

\"Trifoglio:<\/a><\/p>\n

Luigi Trifoglio<\/p>\n

Rome 1888-1939<\/span>\u00a0<\/span><\/p>\n

Portrait of the\u00a0<\/span><\/i>S<\/span><\/i>urgeon Gino\u00a0<\/span><\/i>Pieri<\/span><\/i>\u00a0<\/span><\/p>\n

1931<\/span>\u00a0<\/span><\/p>\n

Oil on canvas, 130.5\u00a0<\/span>\u00d7<\/span>\u00a0109.5 cm<\/span>\u00a0<\/span><\/p>\n

Signed: \u201c<\/span>Trifoglio<\/span>\u00a0Roma 1931\u201d<\/span>\u00a0<\/span><\/p>\n

Bibliography<\/span>:\u00a0<\/span>Gino Pieri, \u201cLuigi Trifoglio ritrattista di medici\u201d, in\u00a0<\/span>Nicia. Rivista medica d\u2019arte e variet\u00e0<\/span><\/i>, A. X, n. 7-8, Milano 1940, pp. 5-9 (ill.); \u201cUn ritrattista di medici Luigi Trifoglio\u201d,\u00a0<\/span>L\u2019artista moderno.\u00a0<\/span><\/i>Rivista<\/span><\/i>\u00a0<\/span><\/i>d\u2019arte<\/span><\/i>\u00a0<\/span><\/i>pura<\/span><\/i>\u00a0e\u00a0<\/span><\/i>applicata<\/span><\/i>, 1942, pp. 11-12 (ill.).\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Interpreter of the return to order and magical realism,\u00a0<\/span>Trifoglio<\/span>\u00a0first showed his work in 1910 at exhibitions held by the\u00a0<\/span>Societ\u00e0<\/span>\u00a0<\/span>Amatori<\/span>\u00a0e\u00a0<\/span>Cultori<\/span>\u00a0di Roma, demonstrating suggestions of De Chirico\u2019s metaphysics. Post war, he exhibited at the first Roman Biennale in 1921 and, thanks to taking up plasticity in form again, in compositions that Ettore\u00a0<\/span>Camesasca<\/span>\u00a0would later recognise the stamp of a \u201csynthesis of Piero della Francesca,\u201d he participated in the first exhibition of the Novecento\u00a0<\/span>Italiano<\/span>\u00a0in 1926, appreciated by the curator Margherita\u00a0<\/span>Sarfatti<\/span>, followed in 1927 by the show\u00a0<\/span>Dieci<\/span>\u00a0<\/span>Artisti<\/span>\u00a0del Novecento\u00a0<\/span>Italiano<\/span>\u00a0and the following year by the Venice Biennale. Among the protagonists\u00a0<\/span>of\u00a0 \u201c<\/span>magical\u201d abstraction, he was then compared to Cavalli and\u00a0<\/span>Capogrossi<\/span>\u00a0in 1933 at the\u00a0<\/span>Circolo<\/span>\u00a0<\/span>delle<\/span>\u00a0Arti e\u00a0<\/span>Lettere<\/span>\u00a0in Via\u00a0<\/span>Margutta<\/span>.\u00a0<\/span>\u00a0<\/span><\/p>\n

Trifoglio\u2019s<\/span>\u00a0introverted and melancholic character, added to the fact that he contracted\u00a0<\/span>tubercolosis<\/span>, which would cause his early death in 1939, kept\u00a0<\/span>Trifoglio<\/span>\u00a0apart from public artistic debate. A rare artist and known for a small number of works, his sophisticated and severe painting left us with the\u00a0<\/span>Self-Portrait in Black\u00a0<\/span><\/i>at the Galleria Nazionale\u00a0<\/span>d\u2019Arte<\/span>\u00a0<\/span>Moderna<\/span>\u00a0and some still\u00a0<\/span>lifes<\/span>\u00a0where he placed Giacomo Leopardi\u2019s funerary mask as the interpretative key of his inner vision and philosophy.\u00a0<\/span>\u00a0<\/span><\/p>\n

In 1940, Giuseppe\u00a0<\/span>Pensabene<\/span>\u00a0held his posthumous personal show at the IX\u00a0<\/span>Mostra<\/span>\u00a0del\u00a0<\/span>Sindacato<\/span>\u00a0<\/span>Laziale<\/span>. But already, back in 1933, in\u00a0<\/span>Emporium\u00a0<\/span><\/i>(pp. 370-372), he supplied a key to reading his painting. \u201cIn the final Roman exhibitions, the works of Luigi\u00a0<\/span>Trifoglio<\/span>\u00a0attracted great interest; an artist who has worked alone for years, in conscientious research, going deeply, on his own account, into the problems of modern painting!\u201d In his paintings\u00a0<\/span>Pensabene<\/span>\u00a0saw\u00a0<\/span>Trifoglio<\/span>\u00a0summarise and go beyond the research of the European avant-garde, as a representation of \u201cobjects in the\u00a0<\/span>concreteness of their matter: objects given a reality that was\u00a0<\/span>considerably more intense than the real<\/span><\/i>\u00a0and whose spirituality manifests itself (in a very modern sense)\u00a0<\/span>as the height of objectification<\/span><\/i>.\u201d Hence art was not seen as \u201cliberation of matter, but as the extreme realisation of the matter itself: transfusion and identification of the\u00a0<\/span>id\u00a0<\/span><\/i>in things.\u201d\u00a0<\/span>\u00a0<\/span><\/p>\n

The portrait of the surgeon Gino\u00a0<\/span>Pieri<\/span>\u00a0is one of the artist\u2019s most representative works. The frontal, symmetrical composition, the plasticity obtained, as Virgilio\u00a0<\/span>Guzzi<\/span>\u00a0(<\/span>Pittura<\/span><\/i>\u00a0<\/span><\/i>alla<\/span><\/i>\u00a0II\u00a0<\/span><\/i>Quadriennale<\/span><\/i>, in Nuova\u00a0<\/span>Antologia<\/span>, 1\u00a0<\/span>marzo<\/span>\u00a01935, p. 101) said \u201cby direct intuition of the volumes and abstracting from the game of shadows,\u201d the dry, very clear and luminous colours that are redolent of mural painting, and the mysterious perspectives opening out in the background point to quattrocento figurative sources, from Masaccio to Piero della Francesca. The hieratic appearance of the surgeon, the profound fixity of his gaze, the gravity of the expression matching that of his profession, revealed by the body lying in the foreground like an aulic lay deposition, truly seem to be invested in their abstract materiality with the artist\u2019s existential vision. The universal pain of the human condition is evoked without violating the formal serenity of the scene.\u00a0\u00a0\u00a0<\/span>\u00a0<\/span><\/p>\n

The protagonist, Gino\u00a0<\/span>Pieri<\/span>\u00a0(<\/span>Anagni<\/span>\u00a01881-Rome 1952) was an eminent physician in Udine for many years. Under surveillance by OVRA (the secret police) due to his socialist political positions, he was nonetheless requested by Mussolini to come to Rome and carry out a secret operation. Linked to partisan groups in Friuli he was arrested by the Gestapo and then freed to deal with the return of the Germans on the National Liberation Committee. In 1946 he was elected deputy for the Socialist Party and was a member of the Constituent Assembly of Italy.\u00a0\u00a0<\/span>\u00a0<\/span><\/p>\n

Stefano Grandesso\u00a0<\/span><\/i>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Luigi Trifoglio Rome 1888-1939\u00a0 Portrait of the\u00a0Surgeon Gino\u00a0Pieri\u00a0 1931\u00a0 Oil on canvas, 130.5\u00a0\u00d7\u00a0109.5 cm\u00a0 Signed: \u201cTrifoglio\u00a0Roma 1931\u201d\u00a0 Bibliography:\u00a0Gino Pieri, \u201cLuigi Trifoglio ritrattista di medici\u201d, in\u00a0Nicia. Rivista medica d\u2019arte e variet\u00e0, A. X, n. 7-8, Milano 1940, pp. 5-9 (ill.); \u201cUn ritrattista di medici Luigi Trifoglio\u201d,\u00a0L\u2019artista moderno.\u00a0Rivista\u00a0d\u2019arte\u00a0pura\u00a0e\u00a0applicata, 1942, pp. 11-12 (ill.).\u00a0\u00a0 \u00a0 Interpreter of the return…<\/p>\n","protected":false},"featured_media":9064,"template":"","autore":[365],"tipologia_opera":[96],"ambito_opera":[82],"data_opera":[366],"disponibilita_opera":[],"titolo_mostra":[362],"tag_mostra":[363],"class_list":["post-9062","opera","type-opera","status-publish","has-post-thumbnail","hentry","autore-luigi-trifoglio-1888-1939","tipologia_opera-recent-sells","ambito_opera-pittura-en","data_opera-366","titolo_mostra-law-digital-summer-2020","tag_mostra-law-digital-summer-2020","description-off"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/opera\/9062","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\/9064"}],"wp:attachment":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/media?parent=9062"}],"wp:term":[{"taxonomy":"autore","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/autore?post=9062"},{"taxonomy":"tipologia_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/tipologia_opera?post=9062"},{"taxonomy":"ambito_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/ambito_opera?post=9062"},{"taxonomy":"data_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/data_opera?post=9062"},{"taxonomy":"disponibilita_opera","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/disponibilita_opera?post=9062"},{"taxonomy":"titolo_mostra","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/titolo_mostra?post=9062"},{"taxonomy":"tag_mostra","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/tag_mostra?post=9062"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}