Adolfo Feragutti Visconti COPPIA DI NATURE MORTE olio su tela, cm 30x91 ciascuno firma (2) L'opera è accompagnata da un'expertise del Professor Cirano Castelfranchi, già perito per il Tribunale di Milano
(Pura 1850–1924 Mailand) Portrait einer Frau mit Halskrause und floralem Schal. Öl auf Leinwand. Unten rechts signiert. 38x31,5 cm. Gerahmt. - Kraqueliert.
Adolfo Feragutti Visconti, born March 25, 1850, in Pura, near Ponte Tresa, Canton Ticino, to a farming family, was the eldest son of Lodovico and Maria Visconti. To ensure a decent livelihood for the family, which also consisted of other children, Filippina, Amedeo Giuseppe, and Cesare Osvaldo, his father occasionally practiced the trade of painter-decorator, a traditional source of income in Canton Ticino. In the years 1875-1880, Adolfo began to sign himself with the surname Feragutti, but the similarity with the Ferrara painter Arnaldo Ferraguti led him to change the signature. He first added the geographic toponym of Milan and then his maternal surname, becoming Adolfo Feragutti Visconti. It is likely that Feragutti learned his first artistic rudiments by following his father and uncle Clement, an expert plasterer. He attended the major and drawing school in Curio, founded in 1850 to train artisans in the arts. After his father's death in 1864, Adolfo took on the burden of the family's economic situation and began working in his father's trade under the guidance of his uncle Clement. In 1868, he enrolled at the Brera Academy in Milan, taking courses in drawing, figure, perspective and landscape. His art, marked by a certain restlessness, is judged by teachers as an expression of the inconstancy of his artistic vein. Feragutti explored various cities in Italy, including Florence, following the Macchiaioli movement, but returned to Milan in 1874. He joined painters G. Bertini and A. Barzaghi Cattaneo at the Brera Academy and joined the Famiglia artistica in 1873, seeking to create a melting pot of innovative artistic forces in Milan. From 1873 to 1879, he participated in the Brera exhibitions. His paintings, such as "Studio dal vero," "Contadina lombarda," and "Testa di paggio," are hailed positively by critics. In the years 1881-1884, he painted canvases with a historical background such as "Ius primae noctis," "Alberigo Denounces the Turpitudes of Ugo King of Lombardy," and "Acca Larentia," consolidating his position in the art world. These paintings indirectly express the patriotic and religious ideals of the Risorgimento season. In 1880, the painting "16th Century Costume" received praise from critic Ferdinando Fontana. In 1881, Feragutti married Giuseppina Riva, his model, and in 1891 he won the prestigious Prince Umberto prize with "Portrait of a Lady." From 1888, due to financial difficulties, Feragutti abandoned Swiss nationality for Italian. In the following years, he participated in numerous exhibitions, gaining recognition. In 1890, he created the fresco "October 12, 1492," representing the discovery of America, which was destroyed during World War II. In 1907, at age 57, Feragutti left Milan for Argentina due to family and economic problems. During his stay, he held a solo exhibition in Buenos Aires and devoted himself to portraits and pampas landscapes. In 1908, he visits Tierra del Fuego and paints bright and colorful landscapes and figures. He returned to Italy in 1909, exhibiting works made in Argentina in 1909 at the Permanente in Milan. From mid-century, his painting underwent a Symbolist turn. In 1911 he participated in the Rome Exhibition of Independents with works such as "Jagana" and "Confidences." In his last years, he retired to Vanzago, participated in various Milanese exhibitions and continued to paint, experimenting with a style based on absolute chromatic freedom. Feragutti died suddenly in Milan on March 10, 1924, shortly before a planned exhibition at the Pesaro Gallery. The posthumous exhibition marks the milestones of his artistic prolificity, exhibiting about eighty works. | (FR) Adolfo Feragutti Visconti, né le 25 mars 1850 à Pura, près de Ponte Tresa dans le canton du Tessin, dans une famille de paysans, est le fils aîné de Lodovico et Maria Visconti. Pour assurer une vie décente à la famille, qui comptait également d'autres enfants, Filippina, Amedeo Giuseppe et Cesare Osvaldo, son père travaillait occasionnellement comme peintre-décorateur, une source de revenus traditionnelle dans le canton du Tessin. Dans les années 1875-1880, Adolfo commence à se signer du nom de Feragutti, mais la ressemblance avec le peintre ferrarais Arnaldo Ferraguti l'amène à modifier sa signature. Il ajoute d'abord le nom géographique de Milan, puis le nom de sa mère, devenant ainsi Adolfo Feragutti Visconti. Il est probable que Feragutti ait appris ses premiers rudiments artistiques en suivant son père et son oncle Clément, expert en plâtrerie. Il fréquente la grande école de dessin de Curio, fondée en 1850 pour former les artisans aux métiers d'art. Après la mort de son père en 1864, Adolfo prend en charge la situation économique de la famille et commence à travailler dans le métier de son père sous la direction de son oncle Clemente. En 1868, il s'inscrit à l'Académie Brera de Milan, où il suit des cours de dessin, de figure, de perspective et de paysage. Son art, marqué par une certaine agitation, est jugé par ses professeurs comme l'expression de l'inconstance de sa veine artistique. Feragutti explore plusieurs villes d'Italie, dont Florence, en suivant le mouvement des Macchiaioli, mais revient à Milan en 1874. Il rejoint les peintres G. Bertini et A. Barzaghi Cattaneo à l'Académie de Brera et adhère à la Famiglia artistica en 1873, cherchant à créer un creuset de forces artistiques novatrices à Milan. De 1873 à 1879, il participe aux expositions de Brera. Ses peintures, telles que "Studio dal vero", "Contadina lombarda" et "Testa di paggio", sont bien accueillies par la critique. Dans les années 1881-1884, il peint des toiles à caractère historique telles que "Ius primae noctis", "Alberigo dénonce les turpitudes d'Ugo, roi de Lombardie" et "Acca Larentia", consolidant ainsi sa position dans le monde de l'art. Ces peintures expriment indirectement les idéaux patriotiques et religieux de la saison du Risorgimento. En 1880, le tableau "Costume du XVIe siècle" reçoit les éloges du critique Ferdinando Fontana. En 1881, Feragutti épouse Giuseppina Riva, son modèle, et en 1891, il remporte le prestigieux prix Principe Umberto avec son "Portrait d'une dame". À partir de 1888, en raison de difficultés financières, Feragutti abandonne la nationalité suisse pour la nationalité italienne. Au cours des années suivantes, il participe à de nombreuses expositions et acquiert une certaine notoriété. En 1890, il peint la fresque "12 octobre 1492", représentant la découverte de l'Amérique, qui sera détruite pendant la Seconde Guerre mondiale. En 1907, à l'âge de 57 ans, Feragutti quitte Milan pour l'Argentine en raison de problèmes familiaux et économiques. Pendant son séjour, il organise une exposition personnelle à Buenos Aires et se consacre aux portraits et aux paysages de la pampa. En 1908, il se rend en Terre de Feu et peint des paysages et des personnages lumineux et colorés. Il retourne en Italie en 1909 et expose les œuvres réalisées en Argentine à la Permanente de Milan. À partir du milieu du siècle, sa peinture prend un tournant symboliste. En 1911, il participe à la Mostra degli indipendenti de Rome avec des œuvres telles que "Jagana" et "Confidenze". Dans les dernières années de sa vie, il se retire à Vanzago, participe à diverses expositions à Milan et continue à peindre, expérimentant un style basé sur une liberté chromatique absolue. Feragutti meurt subitement à Milan le 10 mars 1924, peu avant une exposition prévue à la galerie Pesaro. L'exposition posthume marque les étapes de sa prolifération artistique, en présentant environ quatre-vingts œuvres.
(Pura 1850–1924 Mailand) Studie von drei Männerköpfen mit Flasche. Oben links schwer leserlich bezeichnet: S Giuseppe perdonera se il pittore prese la Corona (?), unten rechts signiert. 30,5x39 cm. - Randdoubliert, neuer Keilrahmen.
(Pura 1850–1924 Mailand) Studie von drei Männerköpfen mit Flasche. Oben links schwer leserlich bezeichnet: S Giuseppe perdonera se il pittore prese la Corona (?), unten rechts signiert. 30,5x39 cm. - Randdoubliert, neuer Keilrahmen.
An antique Italian oil painting by Adolfo Visconti offers oil on canvas impressionist portrait of a lady, artist signed lower left, seated in giltwood frame, c1900Measures- 28.75''h x 23.75''w x 2.5''dAdditional Information:Adolfo Feragutti Visconti (1850 in Pura, Canton Ticino – 1924 in Milan) was an Italian/Swiss painter, of eclectic styles and subjects, including orientalist themes, genre works, and landscapes.Orphan of father by the age of 16, Fergutti Visconti enrolled at the Brera Academy of Fine Arts when he was 18,[1] where he studied with Luigi Bisi, and made his debut in 1873 as a perspective painter. Attracted by the work of the Milanese Scapigliatura movement, he was one of the first members of the Famiglia Artistica. He completed his studies under the guidance of the history painter Stefano Ussi, which brought him into contact with the Tuscan art scene. On his return to Milan, he took part unfailingly in the major national exhibitions, attracting the attention of critics in 1881 with a work on a historical subject. It was in 1883 that he produced the first of his still lifes, which were to earn him a considerable reputation in the 1890s. A portrait of his in an outdoor setting won the prestigious Prince Umberto Prize in 1891, thus launching a renewal of the traditional approach to this genre through the influence of Cesare Tallone’s work and the first photographic models. The period between 1907 and 1909 saw a stay in Patagonia, where the artist painted canvases capturing various aspects of the life of the indigenous population. His tree Works Testa di indio della Terra del Fuoco, I funghi, Tordi are in the permanent collection of the Pinacoteca Cantonale Giovanni Züst in Rancate, while two other works, Uva nera and Ritratto di donna, are at the Museo Cantonale d'Arte of Lugano.[2]. *** OPTIONAL SHIPPING & DELIVERY - While onsite retrieval is always welcome at no charge, this item can be delivered within 1,000 MILES of NEW YORK at the "Flat-Rate Shipping" quote provided in the listing. In-House Shipping & Delivery QUICK QUOTES for items requiring DELIVERY OUTSIDE OF THIS RANGE are available UPON REQUEST. Also, we employ NO-CONTACT PRACTICES in the transfer of purchased items and free storage is available for up to 60 days UPON WRITTEN REQUEST.***
Adolfo Feragutti Visconti 1850-1924 . Oil on panel. “Figure and Dog in a Woodland”. Signed and dated lower left. Measures 18cm x 26cm. Condition Report – Very good original condition.
Aldolfo Ferraguti Visconti (Italian, 1850-1924) Oil on Canvas Undated, unsigned, artist information on back of board, oil on canvas laid on board, image of an angel in a painted gold scoop frame Condition: Very Good, some slight abrasions to paint; light craquelure overall; light dirt accumulation; not examined out of the frame Height: 24.00 inches, Width: 19.00 inches Frame Size: 29.75 inches by 24.75 inches Category: Fine Art > European Paintings Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Approximate Sale Time: 1:14 pm CST Links to High Resolution Images: Image #1 Image #2 Image #3 Image #4 Image #5 Image #6 Image #7
Feragutti Visconti, Adolfo (Pura 1850–1924 Mailand) Portrait einer Frau mit Schleier und Blumen. Öl auf Leinwand über Holz. Oben rechts signiert. 47,5x39 cm.
Pura 1850 - Milano 1924 Ritratto di donna Firmato 'A. Feragutti' di Milano in alto a destra Olio su tavola, cm 19X13,3 Bibliografia: AA.VV., 'Ottocento', n. 35, Milano, 2006, pag. 225 G. Ginex, 'Adolfo Feragutti Visconti (1850-1924)', Banca Cornèr, Milano 2011, pp. 91, 271, n. 47
VISCONTI Alphonse Adolfo Feragutti (1850 - 1924) Huile sur toile "La traversée du gué". Signé en bas à droite A. Visconti. Ecole franco-italienne. Dim.:59x96cm.
Adolfo A. Ferraguti VISCONTI (1850-1924) PAYSAGE SOUS BOIS Peinture , Huile/toile , 61 x 99 cm (24,02 x 38,98 in) , Dimensions avec cadre 84 x 122 cm (33,07 x 48,03 in) , Paysage , XIXEME , Signature (bas droite) ,
Adolfo A. Ferraguti VISCONTI (1850-1924) PAYSAGE SOUS BOIS Peinture , Huile/toile , 61 x 99 cm (24,02 x 38,98 in) , Dimensions avec cadre 84 x 122 cm (33,07 x 48,03 in) , Paysage , XIXEME , Signature (bas droite) , Œuvre originale
Adiolfo Feragutti Visconti (1850-1923) École it Huile sur toile: Effets de lumière dans la clairière. Signée: F. Visconti (deux déchirures). Dimensions : 127 x 202 cm.
Adiolfo Feragutti Visconti (1850-1923) École it Huile sur toile: Effets de lumière dans la clairière. Signée: F. Visconti (deux déchirures). Dimensions : 127 x 202
