Autograph by Ottone Rosai and Photo

A Autograph Letter Signed By Ottone Rosai accompanies his b/w photographic portrait (cm 11 x 12) in a beautiful composition, in perfect condition, mounted under passepartout, plexiglass, and gilded frame (cm 40.5 x 2 x 54.5).

The manuscript is addresses to Mino Maccari. Florence, January 30th 1943. Signed “Ottone Rosai”. One page, single-sided, on ivory-colored paper. cm 23 x 17. In 16°. Very good conditions, except for minor stains. Perfectly readable.

A greeting letter addressed to an old friend and colleague who Ottone Rosai knew in 1925 and with whom he had collaborated. Full of technical details of artworks and transfert of artwork, this writing informs us of the relations and agreements between the two artists struggling with the organization of different exhibitions.

Absolutely to collect!

Ottone Rosai (Florence, 1895-1957)

Ottone Rosai partecipated as a young boy to the activities of the Futurist group, but his personality was fully expressed only after the war (to which he was also involved, fevering futurist ideas). He took his inspiration from Cézanne's work among the Moderns and Giotto and Masaccio among the Ancients. He has produced a repertoire of humble scenes: workers at the tavern, small streets between walls, scenes of everyday life. On the one hand this style has given him a certain mistrust of criticism, but on the other hand he must be recognized the ability to escape any rhetoric when it was not easy to do so.

Mino Maccari (Siena, 1898 – Rome, 1989)

The popular Italian painter and engraver with a caustic personality, Mino Maccari, was called in 1924 by Angiolo Bencini to collaborate as illustrator for the magazine Il Selvaggio, an admittedly intransigent fascist, revolutionary and anti-bourgeois magazine. Here Maccari published his first engravings. and after he took over the direction of the Savage which he held until 1942.

 In 1959, he became the director of the Academy of Fine Arts in Rome; in 1963, he won Antonio Feltrinelli's prize for painting and became president of the San Luca Academy in 1962. In the same year of one of the biggest Italian accademic honour, Maccari managed to obtain a personal exhibition at Gallery 63 in New York.

"More rude and harsh than the elegant Longanesi, but more “cultured" (although seemingly the opposite) for more straightforward roots in the Italian soul, Maccari's corrosive talent always hid in a blend of leisure and ferocity, a deep melancholy. Conscious of belonging to a rare race in extinction, he too, like Longanesi, groaned for not sobbing. His smirks, browsing the Selvaggio collection (1924-1943) are a chronicle of Italian and European evils. " With these words, Marcello Staglieno describes Mino Maccari.