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The attractive world of Oscar Ghiglia

The gorgeous world of Oscar Ghiglia


A boy’s head full with a rash of darkish curls tilts simply so, his nostril virtually touching an orange that’s sitting in a ceramic fruit bowl on a desk in entrance of him. He’s carrying some sort of darkish jacket with a distinction beigey collar. The lighting is a bit moody – it’s superb, truly – with a putty-coloured wall. It evokes many issues – and it additionally, to a style lover like me, feels very Prada. However who’s the boy – and who’s the artist?

Paulo che legge, 1920, by Oscar Ghiglia
Paulo che legge, 1920, by Oscar Ghiglia © Personal assortment

That is Paulo che legge, an oil portray by Oscar Ghiglia from 1920, on present in Florence at Oscar Ghiglia: The Years of the Novecento Italiano on the Palazzo Medici Riccardi. It’s an excellent a part of a retrospective which provides the artist – little-known even in his native Italy – his dues. Born in Livorno in 1876, he selected Florence to pursue his creative ambitions. Influenced by Giovanni Fattori, Titian and Cézanne, in addition to Swiss and German artists reminiscent of Arnold Böcklin and Franz von Lenbach, he was additionally mates with Amedeo Modigliani; they lived collectively for some months in Florence in 1902. Leonardo Ghiglia, co-curator of the present and the great-grandson of the artist, even suggests his great-grandfather proved an inspiration to Modigliani. (There’s a nude of his within the Florence present.) But Ghiglia’s work wasn’t seen by many till the Nineteen Twenties – and was probably not exhibited till the Nineteen Sixties, someday after his loss of life in 1945.

Isa Ghiglia alla toilette, 1935-36, by Oscar Ghiglia
Isa Ghiglia alla toilette, 1935-36, by Oscar Ghiglia © Personal assortment

“He’s nonetheless not well-known even in Italy,” confirms Leonardo. “He’s nonetheless not included within the mainstream of Italian artwork of the primary a part of the 1900s due to his distinctive model – very private and much from each different Italian painter, significantly over the Nineteen Twenties, when Italian artwork was associated to concepts of classicism.” Oscar Ghiglia produced nonetheless lifes that includes colored balls of wool, multi-coloured striped materials, lemons, flowers and vases, alongside considerate portraits, nudes, landscapes and a very beautiful collection of girls captured from behind, together with the artist’s spouse. He has been the topic of some exhibits throughout Italy in the previous few many years, however “the exhibition [in Florence] was the logical consequence of engaged on a definitive catalogue of Ghiglia’s physique of labor,” says Leonardo Ghiglia. “We thought the time had come to have fun him in his personal hometown, striving to find his determine in a correct perspective in Twentieth-century Italian artwork.” 

Natura morta con gomitolo e limoni, 1909, by Oscar Ghiglia
Natura morta con gomitolo e limoni, 1909, by Oscar Ghiglia © Courtesy Società di Belle Arti, Viareggio

One of many issues that Leonardo Ghiglia says unites many guests to this exhibition – and certainly is unattainable to disregard in his work – is the artist’s talent as a colourist, whether or not it’s a canvas bursting with ripe brightness or yet another wealthy and brooding. In nonetheless lifes reminiscent of Natura morta con gomitolo e limoni of 1909, your eye actually dances across the canvas, from the ping of a pink ball of wool to a pale-yellow ceramic bowl resting in opposition to a backdrop of off-khaki. The mixtures of tone and hues are advanced, by no means boring, and generally conflict with an absolute nonchalance – which brings us again to Prada.

We are able to’t say if Miuccia Prada has ever seen Ghiglia’s work; contemplating her lengthy relationship with up to date artwork it’s not unattainable, though Ghiglia might be too conventional for her tastes. Both method, there does appear to be one thing positively proto-Prada about his work. In Donna di spalle in un interno, the white and pink print on black calls to thoughts the ladies’s SS13 assortment; whereas the bourgeois temper of Ritratto di signora con calle recollects the ladylike movie noir-ish class and furs of AW13.

Pensieri, 1935, by Oscar Ghiglia
Pensieri, 1935, by Oscar Ghiglia © Personal assortment

Jil Sander SS12 at Milan Fashion Week
Jil Sander SS12 at Milan Vogue Week © Vittorio Zunino Celotto/Getty Pictures
Celine SS16 at Paris Fashion Week
Celine SS16 at Paris Vogue Week © Victor Virgile/Gamma-Rapho by way of Getty Pictures

There are extra style hints. One other spotlight of the exhibition is Pensieri, from 1935, a portrait of a lady in profile, carrying a quite simple white prime with a barely raised neckline. A masterclass in minimalism, it recollects each Jil Sander and Phoebe Philo-era Celine. In the meantime Ritratto di Giuseppe Prezzolini of 1907 – additionally devoid of color save for an incredible slab of inexperienced at its prime – has a whiff of the fabulously moody voluminous silhouettes just lately proven by Anthony Vaccarello for Saint Laurent males’s SS23 assortment.

La camicia bianca (o Donna che si pettina), 1909, by Oscar Ghiglia
La camicia bianca (o Donna che si pettina), 1909, by Oscar Ghiglia © Istituto Matteucci, Viareggio
Ritratto di Llewelyn Lloyd, 1907, by Oscar Ghiglia
Ritratto di Llewelyn Lloyd, 1907, by Oscar Ghiglia © Istituto Matteucci, Viareggio

But Leonardo Ghiglia doesn’t suppose his great-grandfather was essentially fascinated by style. “His curiosity is usually in the best way they [clothes, fabrics] generate reflections, the best way they appear one subsequent to the opposite, the varied methods they take up gentle,” he says. “He himself was a really well-dressed man, though cash was all the time quick. So far as I do know, he wasn’t significantly fascinated by altering fashions.” 

Oscar Ghiglia in the 1920s
Oscar Ghiglia within the Nineteen Twenties © Ghiglia archive

{A photograph} within the exhibition depicts Ghiglia as a chicly dressed man, in collar and tie, sharp-shouldered go well with, full with a moustache. However Leonardo prefers a musical analogy when wanting on the works, saying that his great-grandfather’s goal was for a way of concord – that his use of color after 1908 was “vigorous and wealthy, however by no means violent or out of tune.” He continues: “What a single object represents doesn’t matter to Ghiglia. He’s most fascinated by how components ‘sound’ collectively.” However maybe it’s one other collector who has summed his work up greatest: “He’s a painter of no interval – and on the similar time related to each interval.” Practically 80 years after his loss of life, this feels extra true than ever.

Oscar Ghiglia: The Years of the Novecento Italiano is on present at Palazzo Medici Riccardi till 13 September; musefirenze.it



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