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{{Short description|Italian painter (1855–1917)}} |
{{Short description|Italian painter (1855–1917)}} |
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[[File:Artgate Fondazione Cariplo - Sottocornola Giovanni, |
[[File:Artgate Fondazione Cariplo - Sottocornola Giovanni, Gioie materne.jpg|thumb|165px|Maternal Joy]] |
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'''Giovanni Sottocornola''' ( |
'''Giovanni Sottocornola''' (1 August 1855, [[Milan]] – 12 February 1917, Milan) was an Italian painter and art restorer. |
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==Biography== |
==Biography== |
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[[File:Sottocornola-Selfportrait2.jpg|thumb|210px|left|Self-portrait (1895)]] |
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He was born in Milan of humble origins. In 1875 he enrolled at the [[Brera Academy]] of Fine Arts, where he attended the courses of [[Raffaele Casnedi]] and [[Giuseppe Bertini]] until 1880 and met his fellow students [[Gaetano Previati]], [[Emilio Longoni]] and [[Giovanni Segantini]]. While the portraits and still lifes presented at the Brera exhibitions of the following years enjoyed considerable success on the art market, he began to address social themes early in the new decade and experimented with the [[Divisionism|Divisionist]] technique in paintings like ''The Worker’s Dawn'' (1897, [[Galleria d’Arte Moderna, Milan]]). Later years saw a return to portraiture as well as genre scenes inspired by family feeling and landscapes painted during stays in the pre-Alpine area of Lombardy. A participant in Milanese and Venetian exhibitions, he combined teaching and restoration with painting. |
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He was born to a working-class family. His father died when he was still a boy, and he became largely responsible for supporting his siblings. In 1875, he was able to enroll at the [[Brera Academy]], where he studied with [[Raffaele Casnedi]] and [[Giuseppe Bertini]]. He graduated in 1880. Two years later he had his first exhibition, at the Academy.<ref name="A">''Esposizione 1882. Catalogo ufficiale'', A. Lombardi, Milano, 1882, p. 11-28-33</ref> His early works were mostly portraits and [[still-life]]s, in the [[Naturalism (art)|Naturalist]] style. |
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| ⚫ | In 1883, he married Luigia Carati and they would have four children, two of whom died as infants. The others, Anita and Maria, often served as his models. Their portraits were among the numerous paintings he exhibited throughout Northern Italy in the 1880s. He also participated in an exhibition of Italian paintings held in [[Montevideo]] in 1889.<ref>[https://books.google.com/books?id=Zz0bAAAAYAAJ ‘‘Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti.’’], by Angelo de Gubernatis. Tipe dei Successori Le Monnier, 1889</ref> |
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[[File:Artgate Fondazione Cariplo - Sottocornola Giovanni, Anch'io pittore o Dilettante o Lo studio del pittore.jpg|thumb|left|200px|''Anch'io pittore o Dilettante o Lo studio del pittore'', circa 1885 ([[Fondazione Cariplo]])]] |
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After 1891, he began to address social themes and experimented with [[Divisionism]]. In 1898, he participated in another exhibition in Latin America; this time in [[Buenos Aires]]. |
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| ⚫ | In |
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[[File:Artgate Fondazione Cariplo - Sottocornola Giovanni, Venditrice di frutta.jpg|thumb|200px|The Young Fruit Seller]] |
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By 1900, he was once again devoting himself to portraits and domestic scenes, mostly with female subjects, and used [[pastels]] in addition to oils. He also created some landscapes in the mountains around [[Valassina]]. Shortly after, he opened his own private, co-educational art school.<ref name="D">Aurora Scotti, ''Dal salotto agli ateliers: produzione artistica femminile a Milano 1880-1920'', Sapi, Milano, 1989, p. 97 {{ISBN| 978-88-7142-000-4}} </ref> |
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During this time, he also worked to restore paintings by [[Bernardino Luini]] at the Church of St. Maurice in the [[San Maurizio al Monastero Maggiore|Monastero Maggiore]], and at the {{ill|Santuario di Sant'Antonio di Padova (Milano)|it|lt=Church of San Antonio}}. |
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He died suddenly and was buried in the [[Monumental Cemetery of Milan]]. |
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==References== |
==References== |
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* Laura Casone, [http://www.artgate-cariplo.it/collezione-online/page45d.do?link=oln82d.redirect&kcond31d.att3=444 Giovanni Sottocornola] {{Webarchive|url=https://web.archive.org/web/20120609014518/http://www.artgate-cariplo.it/collezione-online/page45d.do?link=oln82d.redirect&kcond31d.att3=444 |date=2012-06-09 }}, online catalogue [https://web.archive.org/web/20120402223047/http://www.artgate-cariplo.it/Portal-museo/page38.do?sp=page38&link=ln502&stu24.LanguageISOCtxParam=en Artgate] by [[Fondazione Cariplo]], 2010, CC BY-SA (source for the first revision of this article). |
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{{Reflist}} |
{{Reflist}} |
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==Further reading== |
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* Giovanna Ginex, ''Giovanni Sottocornola. Dal realismo sociale al quotidiano familiare'', Artes, 1985 |
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* Erwin Silbernagi, ''Giovanni Sottocornola. Immagini da una collezione, catalogo della mostra'', Antea, 1991 |
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==External links== |
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* [https://www.treccani.it/enciclopedia/giovanni-sottocornola_%28Dizionario-Biografico%29/ Biography and appreciation of Scottornola] by Beatrice Buscaroli, from the ''[[Dizionario Biografico degli Italiani]]'' @ [[Treccani]] |
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* [https://www.artnet.com/artists/giovanni-sottocornola/ More works by Sottocornola] @ ArtNet |
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{{Authority control}} |
{{Authority control}} |
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Latest revision as of 08:48, 22 December 2023
Giovanni Sottocornola (1 August 1855, Milan – 12 February 1917, Milan) was an Italian painter and art restorer.
Biography
[edit]
He was born to a working-class family. His father died when he was still a boy, and he became largely responsible for supporting his siblings. In 1875, he was able to enroll at the Brera Academy, where he studied with Raffaele Casnedi and Giuseppe Bertini. He graduated in 1880. Two years later he had his first exhibition, at the Academy.[1] His early works were mostly portraits and still-lifes, in the Naturalist style.
In 1883, he married Luigia Carati and they would have four children, two of whom died as infants. The others, Anita and Maria, often served as his models. Their portraits were among the numerous paintings he exhibited throughout Northern Italy in the 1880s. He also participated in an exhibition of Italian paintings held in Montevideo in 1889.[2]
After 1891, he began to address social themes and experimented with Divisionism. In 1898, he participated in another exhibition in Latin America; this time in Buenos Aires.
By 1900, he was once again devoting himself to portraits and domestic scenes, mostly with female subjects, and used pastels in addition to oils. He also created some landscapes in the mountains around Valassina. Shortly after, he opened his own private, co-educational art school.[3]
During this time, he also worked to restore paintings by Bernardino Luini at the Church of St. Maurice in the Monastero Maggiore, and at the Church of San Antonio.
He died suddenly and was buried in the Monumental Cemetery of Milan.
References
[edit]- ^ Esposizione 1882. Catalogo ufficiale, A. Lombardi, Milano, 1882, p. 11-28-33
- ^ ‘‘Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti.’’, by Angelo de Gubernatis. Tipe dei Successori Le Monnier, 1889
- ^ Aurora Scotti, Dal salotto agli ateliers: produzione artistica femminile a Milano 1880-1920, Sapi, Milano, 1989, p. 97 ISBN 978-88-7142-000-4
Further reading
[edit]- Giovanna Ginex, Giovanni Sottocornola. Dal realismo sociale al quotidiano familiare, Artes, 1985
- Erwin Silbernagi, Giovanni Sottocornola. Immagini da una collezione, catalogo della mostra, Antea, 1991
External links
[edit]
Wikimedia Commons has media related to Giovanni Sottocornola.
- Biography and appreciation of Scottornola by Beatrice Buscaroli, from the Dizionario Biografico degli Italiani @ Treccani
- More works by Sottocornola @ ArtNet
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