(Bologna 1890–1964) Paesaggio, signed Morandi, signed and dated on reverse, Morandi 1935, oil on canvas, 55 x 61 cm, framed, (PP)

Exhibitions: 1957, New York, World House Gallery, Giorgio Morandi, retrospective 1912–1957; 1967, Florence, Palazzo Strozzi, Arte Moderna in Italia 1915–1935; 1969–1970 Cortina d’Ampezzo, Centro d’Arte Dolomiti, Omaggio a Giorgio Morandi; 1988–89, travelling exhibition, Bologna, Galleria Comunale d’Arte Moderna; Tampere, Sara Hildénin Taidemuseo (label on the reverse); St. Petersburg, Hermitage; Moscow, Central House of Artists; London, Accademia Italiana delle Arti; Locarno, Pinacoteca Casa Rusca, Giorgio Morandi (Progetto Morandi Europa. Antologica); 1989–1990 Tübingen, Kunsthalle; Düsseldorf, Kunstsammlung Nordrhein-Westfalen, Giorgio Morandi, Antologica (label on the reverse); 1990, Bologna, Galleria Comunale d’Arte Moderna, Giorgio Morandi 1890–1990, Mostra del Centenario (label on the reverse); 1991, Piacenza, Galleria Braga, Morandi. Riflessioni sull’opera; 1996–1997, Paris, Musée Maillol; Sao Paolo, Museu de Arte de Sao Paolo, Giorgio Morandi. retrospective; 1997, Repubblica di San Marino, Galleria d’Arte Moderna e Pinacoteca San Francesco, Segno e colore: dipinti e incisioni Morandi, Manaresi, De Vita; 1998, Schleswig, Schleswig-Holsteinisches Landesmuseum Schloss Gottdorf, Giorgio Morandi 1890–1964 Gemälde, Aquarelle, Zeichnungen, Das Druckgraphische Werk; 1998–1999, Tokyo, Metropolitan Teien Art Museum; Sagamihara City; Kanagawa, Giorgio Morandi, Flowers and Landscapes Literature: L. Vitali, Morandi, Catalogo generale, Milan 1983, vol. I, no. 202, with ill.; exh. cat. Giorgio Morandi, retrospective 1912–1957, World House Gallery, New York 1957, no. 5; exh. cat., Arte Moderna in Italia 1915–1935, Palazzo Strozzi, Florence 1967, no. 1225; exh. cat., Omaggio a Giorgio Morandi, Centro d’Arte Dolomiti, Cortina d’Ampezzo 1969–1970, plate VI; exh. cat., Giorgio Morandi (Progetto Morandi Europa, antologica), travelling exhibition 1988–89, Galleria Comunale d’Arte Moderna, Bologna, no. 18; Sara Hildénin Taidemuseo, Tampere, no. 19; Hermitage, St. Petersburg, no. 18; Central House of Artists, Moscow, no. 18; Accademia Italiana delle Arti, London, no. 18; Pinacoteca Casa Rusca, Locarno, no. 19, with ill.; exh. cat., Giorgio Morandi, Antologica, Kunsthalle, Tübingen; Kunstsammlung Nordrhein-Westfalen, Düsseldorf 1989–1990, no. 38 with ill.; exh. cat. Giorgio Morandi 1890–1990, Mostra del Centenario, Galleria Comunale d’Arte Moderna, Bologna 1990, p. 116, no. 50 with ill.; exh. cat., Morandi. Riflessioni sull’opera, Galleria Braga, Piacenza 1991, p. 25, no. 10 with ill.; exh. cat., Segno e colore: dipinti e incisioni Morandi, Manaresi, De Vita, Galleria d’Arte Moderna e Pinacoteca San Francesco, Repubblica de San Marino 1997, with ill. Provenance: Galleria Michelucci, Florence (label on the reverse and stamp with the no. 129); Vallecchi Collection, Florence (label on the reverse); New House Gallery, New York; Galleria Medea, Milan; Galleria del Milione, Milan (2 labels on the reverse and 1 stamp with the no. 9960); E. Fabbi Collection, Modena; acquired in 1993 by current owner. The main motifs of the Italian artist, Giorgio Morandi, include landscapes and groups of houses, still lifes and floral painting. He studied at the Accademia di Belle Arti in Bologna in the early years of the 20th century. His interest in Cézanne, Matisse and Picasso followed a brief preoccupation in 1913 with the Futurist artists, whose works did not continue to influence Morandi. In contrast, his interest in the metaphysical painting of de Chirico can be traced in the way in which he creates shadows in his own oeuvre. Around 1920 Morandi found his own pictorial language which was reminiscent of Cubism with its reduced choice of subject matter and formal language. This work, ‘Paesaggio’ pays testament to his characteristically peaceful motifs, the interplay between flatness and space and his limited palette, with which he, nevertheless, was able to create individual nuances in a very differentiated manner