I believe it’s either a Spanish or Italian Folk Art. The painting features a 3 dimensional wooden crucifix flanked by two sad cherubs over what looks like the town view of Nazareth. On the back is white paint with a name & address in black, which I believe is of a conservation expert, and a label tying &. Referring this work to. In Venezia which I believe he visited for the Biennale DArte in 1964. Pictures were taken with and without flash, so a color variation is possible. Condition is fair to good : There are losses & cracks to both wood crucifix (broken feet) and painting. Probably went through restoration. The simple wood “frame” is broken in some spots. Especially upper left corner. Look at the photographs. Music and art critic, is the father of Magnani Rocca Foundation. By virtue of him it is nowadays possible to appreciate the permanent collection, actually conserved in Mamiano Villa, previously his private residence. Luigi Magnani was born in Reggio Emilia on. His father was Giuseppe Magnani (Reggio Emilia, 20th January 1879 Parma, 20th December 1960) entrepreneur of bovine breeding and dairy farm, his mother was Eugenia Rocca (Chiavari, 5th March 1883 Parma, 19th March 1967), a noble Ligurian lady. He had got two sisters, Lisetta (1903 1926) and Ada (1909 1929), both dead very young, because of tuberculosis. Magnani, during his university studies, received the Campanini prize from the Royal Deputation of National History, for his memorial about Gerolamo Toschi e lAccademia Romana di Filosofia Naturale. Magnani degrees in Modern Letters, writing a History of art thesis, about the 16th century sculptor Antonio Begarelli from Modena. In the same year, to confirm his interest for sculpture, Magnani effectuates a study on Renaissance sculptor Clemente from Reggio Emilia, then appeared in Cronache dellArte, magazine directed by Francesco Malaguzzi. For several years Magnani records simultaneously some notes for three not concluded novels. La Duchessa di Roccamurata. Which gather together the autobiographical youth of Luigi Magnani and his sisters. He collaborates with the Pontifical Academy in Rome giving some artistic consulting. In particular, in February. Magnani holds a conference about. Un polittico trecentesco inedito della Pinacoteca Vaticana. In the same period he collaborates with the Treccani Institute adding, to the Italian Encyclopedia, some entries incident to history of art. Magnani qualifies as lecturing post in History of Medieval and Modern Art. In addition to history of art, an other Magnanis great passion is certainly music. Since he was a child, Magnani was directed towards the study of piano by the mother Eugenia. This learning did not stop to an unskilled level, as the matter of fact Magnani had, as master composer, Alfredo Casella and Raffaele Casimiri. For several years Magnani dedicates passionately his time to music composition. I Canti di Michelangelo. For voice and piano. I Cori della Passione. Due Stanze di Canzon. E; all of them executed in various occasions during the 1930s, the 40s and the 50s. The 16th October 1952, Pavane has been executed at the San Carlo Theatre in Naples, conducted by his friend Carlo Zecchi, and the Naples newspaper Il Mattino comments And the other compositions executed, a new listening for Naple, even if it is not at all unreleased in the musical scenery, a pleasing page, Pavane, written by Luigi Magnani. One of the most fundamental encounter for Magnani, the collector, is dated at this period: the encounter with the painter Giorgio Morandi, acquainted in Colorno, through an other art collector from Parma, Glauco Lombardi: his collection constitutes nowadays the museum of Maria Luigias objects, duchess of Parma. The other artists that Magnani used to spend time with were: Burri, Clerici, de Pisis, Guttuso, Leoncillo, Manzù, Savinio, Tamburi. Magnani rebuilds the collaboration with Treccani Institute, for the drafting of the Great Biographical Dictionary of Italian People, from the Middle Age to the contemporary period, attending to the biographies of the 16th century Emilian sculptors. Magnani furthermore lends his support to the musical section of the. Dictionary of Contemporary Art. Published by Ferdinando Ballo Publishing of Milan. All Magnanis life is so dedicated to history of art, music and literature, that, at the end of the 40s, while Magnani gives a lecture on Modern musical techniques at the Roman Philharmonic Academy, he writes an essay about Mallarmé, and, from 1949 to 1962, he teaches History of Decorative Arts of Manuscript and Book at La Sapienza University in Rome. From 1949 to 1967 Magnani obtains other remits to teach at the Special Room for Archivist and Librarian at Rome University. Magnani lives mainly in Rome, because of his occupation as university professor, and he uses to organize concerts in his house, calling renowned performers. Magnani becomes president of the Italo-French Culture Association in Parma and he organizes a Committee, which has, as purpose, the commemoration of Stendhal, where a remarkable number of French culture personalities participates. Then he becomes member of the Pontifical Academy of Virtuosi al Pantheon, in Rome. The Fine Art Academy of Parma nominates Magnani as Academic Honour, because of his Honours Value. Magnani holds a conference at the Italian Institute of Germanic Studies in Rome, about Goethe e Mozart, which attests his uninterrupted interest to accost different forms of art, to reveal their mutual affinities and influences, as authentic humanist, extraneous to preconceived schemes, in a concept of profoundly global culture. Again in 1956, Magnani is one of the founding member of the Association Italia Nostra. The Publishing Ricciardi issues. Le Frontiere della musica. A collection of essays, written by Magnani, already published in La Rassegna Musicale, Paragone, Tempo presente. These essays have in common the study of the correlations between music and poetry, the analysis of the formal structure of music, the musical conceptions of poets and writers, as Goethe, Herder, Stendhal, Heine, Mallarmé, Mann, the poetry of musicians as Monteverdi, Mozart, Beethoven, Wagner, Hindemith, Schoenberg. Especially the perceivable affinities between Mozart and Goethe. In the matter of these essays, Alberto Pironti, the 29th June 1957, on the newspaper Il Punto and Massimo Milà, the 25th August 1957, on LEspresso magazine, write: An aesthetic preciosity of current information; but also exquisite erudition, wide competence, striking and correct use of therms, a charming, expert technique; If there is someone able to explain to people how to take sybaritically delight in Hindemith or Schoenbergs music, this person is certainly Luigi Magnani. In these years, Luigi Magnani writes some scripts for the periodical La Rassegna Musicale, headed by Guido M. Magnani is lecturer of numerous conferences and author of essays about Beethoven, like. Verità e Poesia in Beethoven, Ideale della libertà e il finale della Nona, Umanesimo in Beethoven. And he is also broadcast consultant for a TV series about Beethoven, for RAI Television. Luigi Magnani ritratto da Milton Gendel (1977). Of Turin publishes Gli Affreschi della Basilica di Aquileia. Affreschi del secolo XI. The volume is offered by RAI Television to the delegates of Radio and TV organisms, participant to the Prix Italia, gathered in Trieste in September 1960. Paola Pergolo, director of Borghese Gallery in Rome, comments this study on Paese Sera, on June 30th 1961: (This volume is) distant from that kind of erudition, that makes so frequently thick the language of art critique, in particular of the Middle Age, which distances the public from the knowledge of so many masterpieces; it is also far from questions too much coherent, similar to a journalistic language; this volume combines the guarantee proper of scientific explanation, with the expression of a sensible participation. Once again, in collaboration with RAI, Magnani holds a conversation about Proust e la musica, followed by a second one, about Schoenberg. As reward for his dedication to the circulation of knowledge in musical field, Magnani obtains the Provincia di Reggio Emilia per la Musica and Microfono dArgento awards in 1959 for the category Rubrica Musicale. Is dated back 1962 the publication of I Quaderni di Conversazione di Beethoven, one of his most important work, as meticulous analysis and interpretation of those extraordinary documents, such as Beethovens notebooks, where he used to write on to communicate with his friends, during his last years, hindered by deafness. On the circumstance of Morandis death, Magnani presents in RAI TV a remembrance of the painter, and it has been followed by a broad exposition at the Biennale dArte di Venezia, two years later. Again, in 1964, in collaboration with RAI, Magnani sets a series of programs on the occasion of the 4th centenary of Michelangelos death: aim of these initiatives is to explain Michelangelos place in Renaissance culture, through an explanation of the ideological and religious subjects in his painting and architectures, focusing in particular on their iconographic peculiarity and on their symbolic meanings. Is for Magnani a suffering period, marked by his mother Eugenias passing, a figure who has continuously supported hers sons lifestyle, turned towards humanistic interests, than in family business. In the same year Magnani takes part of a jury panel, awarding the Premio Puccini, patronised by Teatro La Scala. Magnani has prolific collaborations with numerous lyric entities, editing the drafting of the books of critic presentation of operas like Debussys. In 1959 and in 1964, played, in this year, at La Scala Theatre in Milan, then Beethovens. Of Van Weber in 1973 for Reggio Emilias Municipal Theatre, and again The. In 1973 for Trieste City Theatre Giuseppe Verdi. Magnani writes a script on the contemporary compositor Luigi Dallapiccola, issued by the magazine Ente Autonomo Biennale di Venezia. Again in 1968 he participates to a concours to obtain the chair of History of music at Pavia University as extraordinary professor, he does not have the role, but the wins the chair of History of Music at Lecce University. In 1969 Magnani holds a conference about Michelangelo at Villa San Paolo in Florence, in collaboration with Stanford Humanities Center and in 1970 he participates in the symposium on Beethoven in Vienna. In the same year he works for Rivista Internazionale di Estetica e di Sociologia della Musica. Naturally also in Parma Magnani continues his activity as musicologist, holding in 1972 a conference at Istituto di Studi Verdiani, about Webers The Freeshooter. Magnani sets also a short workshop dedicated to the origins of melodrama, for Istituto per il Film e le Arti dello Spettacolo at the International University of art in Florence, where, at that time, Carlo Lodovico Ragghianti was the dean: a collaboration continued in the following years. Il Nipote di Beethoven. That wins the Campiello awards; the novel in 1985 becomes a movie directed by Paul Morrissey, with Anna Vescovis screenplay, but it did not receive the public or critic consent. Initially, the project was taken in consideration by the director Liliana Cavani, who had thought to Marlon Brando and Albert Finney in the role of Beethoven. This is the period of the numerous musical events in Mamianos Villa: Il Quartetto Italiano, Elisabeth Schwarzkopf, Nikita Magaloff, Magda Tagliaferro. Magnani leaves his position as professor at Rome University and decides to move definitely to the countryside, at the villa in Mamiano. From this moment he brings forward the idea to create an art foundation, starting intensifying his research into art works, to enrich his collection, frequently availing himself of advices by his friends, historian of art: Arcangeli, Argan, Ballo, Berenson, Bertelli, Brandi, Briganti, Cera, Chastel, della Pergola, Emiliano, Fiocco, Frommel, Gassier, Gonzàles-Palacios, Haskell, longhi, Malajoni, Palluccini, Parronchi, Pope Hennessey, Quintavalle, Ragghianti, Rosenberg, Sgarbi, Solmi, Tassi, Toesca, Vitali, Zeri. After some years Magnani buys his second piece, Giovanni del Biondos triptych. After several important acquisitions during the 1950s, in 1962 arrives in Mamiano Villa Tizianos. A first maturity period masterpiece of the Venetian painter. La famiglia dellinfante Don Luis. Arrived in Mamiano in 1974. Coming from Ruspolis Florentine palace, bought for a very impressive amount for those years, that Magnani allocates with sacrifice, in the name of his love for art; this opera continues to fascinate all the visitors, who admire it, exposed nowadays at Mamiano Villa. Among the contemporaneous operas, excels the Cézannes group of magnificent and signify watercolours, bought between the 1970s and the 1980s. The current Cézannes room in Magnani Rocca Foundation is certainly a rare evidence of a cultured and refined collecting. The last piece that has been bought among these masterpieces is Antonio Canovas sculpture. Arrived in Mamiano in the last period of Magnanis life. Magnani established juridically the Magnani Rocca Foundation to remember his father Giuseppe and his mother Eugenia Rocca which he will be president for life of. Is dated back 1976 the book Goethe, Beethoven e il demonico, and in 1978 it is published La musica in Proust. Magnani receives the worldwide awards Targa dOro per lEcologia, as esteem to his contribution in terms of science and tenure, to improve the quality of peoples lives, aim constantly presents in Magnanis lifelong. Also Stendhals works remain one of the uninterrupted interest in Magnanis activity: as the matter of fact, in. Has been published and, the following year, it receives the literary critic reward Otto/Novecento for the category Edito. Has been published and presented on October 14th 1982 by Eugenio Riccomini; it attests the twenty years friendship between the two personalities and it gathers their whole correspondence and the reproductions of some paintings (50 operas in Magnanis collections). Magnani exhibits his contemporaneous collection Da Cézanne a Morandi, e oltre, setted in Mamiano Villa, not completely restored, yet. The copious operas have been exposed in the orangery, enlarged and modified, after the arrangement in 1974 of Goyas large canvas in one salon of the Villa. Until the end Beethoven remains one of Magnanis most important interest: once again in 1984, he suggests an interpretation, even literary, writing the book Beethoven lettore dOmero. In the same year, Magnani is elected honour member of the Academic Society of French Languages and Literatures, candidacy proposed by Giovanni Bogliolo and Carlo Bo. Luigi Magnani dies in his Mamiano Villa on 15th November 1984. Attended by Elge Gazza and Virginio Terenziani; two months before he had presented his antique art collection with the exhibition entitled Fondazione Magnani Rocca. Capolavori della pittura antica set from 15th September to 14th October 1984, in Palazzo Magnani, in Reggio Emilia. NO PERSONAL CHECKS PLEASE. Thank you for looking. The item “RARE ANTIQUE OLD MASTER ITALIAN FOLK ART 3D CRUCIFIX & ANGELS CHERUBS PROVENANCE” is in sale since Friday, May 25, 2018. This item is in the category “Art\Paintings”. The seller is “bigberthafay” and is located in Glen Cove, New York. This item can be shipped to United States.
- Listed By: Dealer or Reseller
- Medium: Oil
- Subject: Religious
- Style: Folk Art
- Size Type/Largest Dimension: Large (Greater than 30″)
- Date of Creation: 1800-1899
- Region of Origin: Europe
- Painting Surface: Wood
- Framed/Unframed: Framed
- Quantity Type: Single-Piece Work
- Features: Signed
- Year: 19th century or earlier
- Originality: Original