Attributed Gottardo Segantini, Love at the Fountain, etching

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Painter and engraver, son of the more famous painter Giovanni Segantini (1858 - 1899). He became interested in art thanks to his father, whom he lost when he was only 17. He assimilated all the most profound aspects of his father's technique, so much so that he devoted himself with respect and admiration to reproducing his works through drawing and engraving, in which he achieved great skill. He then enrolled at the Brera Academy, renewing his father's Divisionism with a vigorous use of colour. He moved to Rome and then to Zurich, where he was able to capture urban views with the same vividness. He settled definitively in Maloja, rediscovering his beloved landscapes en plein air but not neglecting still lifes or interior scenes. His engraving work, as well as that of his brothers, is still to be investigated. Of note are a collection of Engadine engravings published in 1913 by the publisher Wolft in Leipzig and a Giovanni Segantini collection, 12 etching reproductions by his sons Mario and Gottardo, Società Editoriale d'arte Divisionista (Milan, s. d. c. 1915). On this sheet, in the foreground, two figures are depicted: a man and a woman near a fountain, one of those made for watering livestock. The man is depicted bent over while drinking from a bucket, the woman standing on the left holds a faggot in her right hand and seems to be looking at the curious viewer. Behind them in the distance, beyond the fence, is the profile of Savognino. The engraving faithfully reproduces a pencil drawing with coloured chalk by Giovanni Segantini: Amore alla fontana (Love at the Fountain), 1892. The engraving technique faithfully reproduces Giovanni's filamentary Divisionist technique. In addition to the etching, aquatint is visible between the marks and especially in the sky. The use of monotype highlights the white foam of the water coming out of the fountain and the walls of the houses bathed in moonlight. Considering the subject and the quality of the sign and impression, it is proposed that the work be attributed to Gottardo, who seems to be the most skilled of the Segantini brothers. Excellent impression. Very good state of preservation. Wide margins beyond the copper stop. Bibliography for the subject: Annie-Paule Quinsac, Giovanni Segantini catalogo generale, vol 1, n.287

ID: 11318-1642452943-30560