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The white horse
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Factory
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Composizione architettonica urbana
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Cityscape with truck
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Urban Landscape

Mario Sironi (May 12, 1885 – August 13, 1961) was an Italian modernist artist who was active as a painter, sculptor, illustrator, and designer. His typically somber paintings are characterized by massive, immobile forms. He was born in Sassari on the island of Sardinia. Sironi spent his childhood in Rome. He embarked on the study of engineering at the University of Rome but quit after a nervous breakdown in 1903, one of many severe depressions that would recur throughout his lifeThereafter he decided to study painting, and began attending the Scuola Libera del Nudo at the Accademia di Belle Arti di Roma. There he met Giacomo Balla, who became “his first real teacher”. Sironi also met Gino Severini and Umberto Boccioni, and like them he began painting in a Divisionist style under the guidance of Balla. By 1913, Balla, Boccioni and Severini had developed a new style—Futurism—which Sironi also adopted for a brief time. Sironi served in World War I as a member of the Lombard Volunteer Cyclists and Drivers. After the war, his version of Futurism gave way to an art of massive, immobile forms.. In 1922, Sironi was one of the founders of the Novecento Italiano movement, which was part of the return to order in European art during the post-war periodSironi’s works of the late 1920s, many of which feature monumental, archaic figures of families in bare, mountainous landscapes, are “marked by a sense of humanity burdened with history … [and] an almost Romanesque spirit of a solemn expressionism”. The pure forms of his earlier work were replaced by a primitivist form of classicism, and his style became more painterly.A supporter of Mussolini, Sironi contributed a large number of cartoons—over 1700 in all—to Il Popolo d’Italia and La Rivista Illustrata del Popola d’Italia, the Fascist newspapers.Rejecting the art market and the concept of the easel painting, he became committed to the ideal of a fusion of decoration and architecture, as exemplified by Gothic cathedrals. Although his esthetic of brutal monumentality represented the dominant style of Italian Fascism, his work was attacked by right-wing critics for its lack of overt ideological content.As an artist closely identified with Fascism, Sironi’s reputation declined dramatically in the post-World War II period. Embittered by the course of events, he had returned to easel painting in 1943, and worked in relative isolation. His withdrawal from society increased after the death of his daughter Rossana by suicide in 1948. The paintings of his later years sometimes approach abstraction, resembling assemblages of archaeological fragments, or juxtaposed sketches. He continued working until shortly before his death on August 13, 1961, in Milan.
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Debout les morts
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Cavallo bianco e molo
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Mountains
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Urban Landscape
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Periferia
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Periferia
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Composizione e figure

Mario Sironi (Sassari, 12 de mayo de 1885 – Milán, 13 de agosto de 1961) fue un pintor italiano. Estudió ingeniería en Roma, dejando los estudios para dedicarse a la pintura. Se formó en el estudio de Giacomo Balla, donde conoció a Gino Severini y Umberto Boccioni. Con este último realizó un viaje por Francia y Alemania en 1908. Sus primeras obras se enmarcaron en el futurismo, con una temática relativa a la vida urbana y la era industrial (El camión, 1914; Composición con hélice, 1915). Tras una corta etapa en la pintura metafísica (Caballo blanco, 1919), desembocó en un expresionismo personal, influido por la pintura tradicional italiana, con cierto aire arcaico, de formas geométricamente reducidas. Siguió con sus representaciones urbanas, a las que otorgaba un curioso aspecto de evocación histórica, a la vez que un aire de angustiosa soledad, en escenas de ciudades industriales que absorben al individuo, reflejado por figuras solitarias de obreros inmersos en los escenarios de grandes fábricas y barrios industriales cruzados por trenes, camiones y tranvías

Hacia mediados de los años 1920 se adhirió al estilo Novecento, que propugnaba el retorno al clasicismo de tradición italiana, movimiento que contó con el patrocinio del régimen fascista de Mussolini. Sus nuevas temáticas fueron el paisaje, el retrato y el desnudo, con una base de inspiración en la antigüedad y en el carácter mediterráneo del arte italiano. Propuso el retorno a técnicas tradicionales, como el fresco, el mosaico y el bajorrelieve, y se aproximó al diseño vinculado a la arquitectura (pabellones de la Fiat para la Feria de Milán) y a la escenografía teatral.