Oil Painting Artist::. giacomo balla

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     giacomo balla
    Balla is often portrayed as a painter closely associated with Italian Futurism although in fact, like a number of others associated with the group, his work crossed into a number of creative disciplines including fashion and the applied arts. In 1914 he wrote the Manifesto on Menswear, later retitled Antineutral Clothing, a dramatic exhortation to dispense with the mundaneity of everyday menswear in favour of dynamic, expressive, and aggressive Futurist clothing. Like his fellow Futurists he sought to sweep away all vestiges of Italy cultural heritage in favour of an emphatically 20th-century way of life. He conceived of Futurist menswear as allowing its wearers to respond to mood changes through pneumatic devices that can be used on the spur of the moment, thus everyone can alter his dress according to the needs of his spirit. It could also be animated by electric bulbs. He had an exhibition at the Casa DArte Bragaglia in Rome in 1918, in conjunction with which he co-published his Colour Manifesto. He was also committed to Futurist applied arts and furniture, brightly painted and with richly animated surfaces, and showed them at his Futurist House in 1920, the year in which he collaborated on the journal Roma futurista. He also exhibited at the Paris Exposition des Arts D??coratifs et Industriels of 1925 and the International Exhibition at Barcelona in 1929. However he failed to get his Futurist designs put into mass production and during the 1930s gradually distanced himself from such an outlook.

giacomo balla dynamism of a dog on a leash oil painting artist
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dynamism of a dog on a leash
mk247 1912,oil on canvas,35.375x43.25 in,90x110 cm,albright knox art gallery,buffalo,ny,usa

     Painting ID::  56464
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  dynamism_of_a_dog_on_a_leash
mk247 1912,oil on canvas,35.375x43.25 in,90x110 cm,albright knox art gallery,buffalo,ny,usa

giacomo balla swifts paths of movement dynamic sequences oil painting artist
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swifts paths of movement dynamic sequences
mk247 1913,oil on canvas,38x47.25 in,96.8x120 cm,museum of modern art(moma),new york,ny,usa

     Painting ID::  56481
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  swifts_paths_of_movement_dynamic_sequences
mk247 1913,oil on canvas,38x47.25 in,96.8x120 cm,museum of modern art(moma),new york,ny,usa

giacomo balla With a chain holding the dog s dynamic oil painting artist
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With a chain holding the dog s dynamic
mk250 Year in 1912. Oil on canvas 89.9 x 109.9 cm. New York at Buffalo. Albright - Knox Art Gallery.

     Painting ID::  56997
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  With_a_chain_holding_the_dog_s_dynamic
mk250 Year in 1912. Oil on canvas 89.9 x 109.9 cm. New York at Buffalo. Albright - Knox Art Gallery.

giacomo balla Humility oil painting artist
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Humility
1710-17 White stucco Oratorio del Rosario di San Domenico, Palermo In the last years of the 17th century the Sicilian sculptor Giacomo Serpotta was commissioned to decorate the Oratory of San Lorenzo. He illustrated the lives of saints Francesco and Lorenzo in high-relief scenes, accompanying these with appropriate allegorical figures in the round. With the scenes of San Lorenzo is one of the artist's most graceful works, the figure of Humility, represented as a young woman with fluttering draperies, surrounded by four groups of flying putti. Executed, as are the reliefs, entirely in stucco - a material that demands speed in working and allows no vacillation - the group shows the artist's great virtuosity. Artist: SERPOTTA, Giacomo Painting Title: Humility , 1651-1700 Painting Style: Italian , sculpture Type: mythological

     Painting ID::  63040
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  Humility
1710-17 White stucco Oratorio del Rosario di San Domenico, Palermo In the last years of the 17th century the Sicilian sculptor Giacomo Serpotta was commissioned to decorate the Oratory of San Lorenzo. He illustrated the lives of saints Francesco and Lorenzo in high-relief scenes, accompanying these with appropriate allegorical figures in the round. With the scenes of San Lorenzo is one of the artist's most graceful works, the figure of Humility, represented as a young woman with fluttering draperies, surrounded by four groups of flying putti. Executed, as are the reliefs, entirely in stucco - a material that demands speed in working and allows no vacillation - the group shows the artist's great virtuosity. Artist: SERPOTTA, Giacomo Painting Title: Humility , 1651-1700 Painting Style: Italian , sculpture Type: mythological

giacomo balla merkurius passerar framfor solen oil painting artist
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merkurius passerar framfor solen
1916 se

     Painting ID::  67742
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  merkurius_passerar_framfor_solen
1916 se

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     giacomo_balla
    Balla is often portrayed as a painter closely associated with Italian Futurism although in fact, like a number of others associated with the group, his work crossed into a number of creative disciplines including fashion and the applied arts. In 1914 he wrote the Manifesto on Menswear, later retitled Antineutral Clothing, a dramatic exhortation to dispense with the mundaneity of everyday menswear in favour of dynamic, expressive, and aggressive Futurist clothing. Like his fellow Futurists he sought to sweep away all vestiges of Italy cultural heritage in favour of an emphatically 20th-century way of life. He conceived of Futurist menswear as allowing its wearers to respond to mood changes through pneumatic devices that can be used on the spur of the moment, thus everyone can alter his dress according to the needs of his spirit. It could also be animated by electric bulbs. He had an exhibition at the Casa DArte Bragaglia in Rome in 1918, in conjunction with which he co-published his Colour Manifesto. He was also committed to Futurist applied arts and furniture, brightly painted and with richly animated surfaces, and showed them at his Futurist House in 1920, the year in which he collaborated on the journal Roma futurista. He also exhibited at the Paris Exposition des Arts D??coratifs et Industriels of 1925 and the International Exhibition at Barcelona in 1929. However he failed to get his Futurist designs put into mass production and during the 1930s gradually distanced himself from such an outlook.

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