Giuseppe Pellizza da Volpedo 1868 Volpedo-1907 Volpedo

Ricovero N.2 del Penice o La cantoniera al passo del Penice bottom left authentication by daughter Maria Pellizza: "Work of my father Maria Pellizza" dated on verso top left "Ricovero N.2 of the Penice / Begun on 12-7-1904" "The sketch reproduces the Penice pass by framing the shelter No. 2 within the frame of the surrounding heights, making it with its clear volume the point of reference of the extremely rich chromatic drafting in all the plots with greens, yellows, oranges and browns with reddish shades. The brushstroke is mobile and only the technical expertise of the author allows the complex movements of the masses and the continuous change of direction of the strokes and strokes of color to be well harmonized. Pellizza must have been very attracted by these compositional sequences, as well as extremely mobile line of the peaks since after the Penice he turned to the Alps, making his first pilgrimage to Segantini's places. The work was included in the artist's Studio inventory of 1907 at No. 21." A. Scotti W. 49 - H. 39 Cm oil on cardboard Collection Maria Pellizza, Volpedo@@ Collection L. Cairo Masera, Vigevano (until 1959). Bellotti, 1944, pl. VII@@@@ Masterpieces..., 1959, pl.@@@ Archivi del Divisionismo, II, 1968, V. 233, fig. 1347@@@ Bono, 1979, fig. а p. 14@@@ A. Scotti, Pellizza da Volpedo. Catalogo Generale, Electa, Milan, 1986, p. 448@@@ fig. no. 1195 1920, Milan, Galleria Pesaro, no. 52@@@ 1941, Milan, Galleria Bolzani, no. 4@@@ 1954, Alessandria, no. 38: 1959, Milan., Galleria d'arte internazionale, no. 50 "The sketch reproduces the Penice pass by framing shelter No. 2 within the frame of the surrounding heights, making it with its clear volume the point of reference for the extremely rich color drafting in all the plots with greens, yellows, oranges and browns with reddish hues. The brushstroke is mobile and only the technical expertise of the author allows the complex movements of the masses and the continuous change of direction of the strokes and strokes of color to be well harmonized. Pellizza must have been very attracted by these compositional sequences, as well as extremely mobile line of the peaks since after the Penice he turned to the Alps, making his first pilgrimage to Segantini's places. The work was included in the artist's Studio inventory of 1907 at No. 21." A. Scotti