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[[Emilio Cecchi]], another highly respected art critic who was in addition a close friend, describes Òppo's pictures from this time as employing "colours of an acrid, biting, almost burning" character, reflecting little of the Italian modernism of artistic contemporaries, but rather imbued with "a certain Matissian influence".<ref name=CEOsecondoMP/><ref name= CEOsecondoECsecondoEG>{{cite web |title=Gli artisti scelti e quelli esclusi: un'idea di arte italiana .... Le scelte della giuria di accettazione: gli artisti selezionati e gli esclusi .... Footnote 101 |page=84, 81-95 |url= https://flore.unifi.it/retrieve/handle/2158/1128005/336263/Tesi%20Dottorato-Emanuele%20Greco.pdf |work=La mostra “Fiorentina Primaverile” del 1922: Ricostruzione filologica dell'esposizione e del dibattito critico |year=2017 |publisher= Università degli Studi di Firenze |author=Emanuele Greco |accessdate=19 May 2022}}</ref><ref>E. Cecchi, Il pittore Cipriano Efisio Oppo, in «Dedalo», VIII, vol. III, 1927-1928, pp. 696-717, pp. 698-699</ref> The critic Alberto Cantù, writing in 1914, was struck by the "violence, aggression and capacity for all exesses before finding its equilibirum" apparent in Òppo's paintings.<ref name=CEOsecondoMP/><ref>A. Cantù, in Rassegna d’arte antica e moderna, I [1914], 5, pp. 109-111</ref>
[[Emilio Cecchi]], another highly respected art critic who was in addition a close friend, describes Òppo's pictures from this time as employing "colours of an acrid, biting, almost burning" character, reflecting little of the Italian modernism of artistic contemporaries, but rather imbued with "a certain Matissian influence".<ref name=CEOsecondoMP/><ref name= CEOsecondoECsecondoEG>{{cite web |title=Gli artisti scelti e quelli esclusi: un'idea di arte italiana .... Le scelte della giuria di accettazione: gli artisti selezionati e gli esclusi .... Footnote 101 |page=84, 81-95 |url= https://flore.unifi.it/retrieve/handle/2158/1128005/336263/Tesi%20Dottorato-Emanuele%20Greco.pdf |work=La mostra “Fiorentina Primaverile” del 1922: Ricostruzione filologica dell'esposizione e del dibattito critico |year=2017 |publisher= Università degli Studi di Firenze |author=Emanuele Greco |accessdate=19 May 2022}}</ref><ref>E. Cecchi, Il pittore Cipriano Efisio Oppo, in «Dedalo», VIII, vol. III, 1927-1928, pp. 696-717, pp. 698-699</ref> The critic Alberto Cantù, writing in 1914, was struck by the "violence, aggression and capacity for all exesses before finding its equilibirum" apparent in Òppo's paintings.<ref name=CEOsecondoMP/><ref>A. Cantù, in Rassegna d’arte antica e moderna, I [1914], 5, pp. 109-111</ref>

Meanwhile he also engaged in the networking vital to his career progression in the context of the times. Looking back in 1929 Mario Corsi recalled Òppo as having been "rather shy, and on account of the shyness a little contrary. He was always to be found in the "Caffè Greco" along the [[Via Condotti]] [in the heart of the city], at the end of the largest room at the farthest end of the establishment, known as "the omnibus", where beardless poets could interact with a few generally youthful and inexperienced jounralists, and a few artists - not al of these in their first youth".<ref name=CEOsecondoMP/><ref>M. Corsi, Artisti contemporanei: C. Efisio O., in Emporium, LXX (1929), 417, pp. 131-148</ref>

Come ricorda Mario Corsi (1929, p. 131), «uscito da poco dall’Accademia» Oppo era «un po’ timido e appunto per timidezza un po’ scontroso. Lo si vedeva tutte le sere al “Caffè Greco” di Via Condotti, in fondo all’ultima ristretta sala – l’omnibus – dove si davan convegno poeti imberbi […], parecchi giornalisti, per lo più alle prime armi, e qualche artista, questi non tutti giovanissimi: la falange che emigrò poi, definitivamente, nella non ingoloriosa “terza saletta” del Caffè Aragno».


===Cultural organizer===
===Cultural organizer===

Revision as of 09:29, 19 May 2022

Cipriano Efisio Òppo (2 July 1891 – 10 January 1962) was an Italian painter, stage designer, satirical illustrator, and critic. He was born in Rome, the city in which he also lived, worked and died, though his father's and mother's families had both come originally from Sardinia. He was an influential and perceptive commentator and mentor in respect of the Italian art scene through the challenges of the Mussolini years.[1][2][3][4][5]

Life

Provenance and childhood

The father of Cipriano Efisio Òppo was Andrea Eugenio Òppo, who worked for the post office. His mother, born Ottavia Sutto, ran the family home when he was small, but he was still very young in 1894, when she died.[3] Although he was always known as "Cipriano Efisio Oppo", and the usage is respected in most subsequent historiography, the name "Efisio" does not appear on his birth certificate so was, presumably, only adopted on his behalf (or by him) at some later date.[6] Although the relationship between father and son could sometimes be confrontational under the one-parent set-up placed on them by circumstances, Andrea Eugenio Òppo was devoted to his son.[7] When he was ten Cipriano's father sent him away to a boarding school at Spoleto, hoping thereby to assure the child an education appropriate to his middle-class aspirations. The boy rejected the institutional rigidities that the school sought to impose on him, however, and the arrangment was terminated after four years.[7]

After returning to Rome full-time in 1904, Òppo enrolled at the city's "Royal Higher Academy of Fine Arts" ("Regia Accademia di Belle Arti denominata di San Luca", as it was known before Italy became a republic in 1946). His studies were focused on learning to paint, exploiting a natural talent that had already been apparent for some years. College contemporaries who in due course became friends included Francesco Trombadori, Amerigo Bartoli and Antonio Maraini.[6] He supported his studies with work at the prestigious commercial art gallery of Giuseppe Sangiorgi which filled a large part of the vast interior at the Palazzo Borghese.[2] Here he "undertook the duties of an apprentice decorator and copyist of classic works under the guidance of Maestro Oreste Morozzi" (who appears to have combined the roles of head gardener and chief curator at the palace).[6] In 1907 he started attending the academy's "Scuola libera del nudo" ("Free School of The Nude") in the Villa Medici, as a result of which he became more closely acquainted with Umberto Boccioni and Mario Sironi.[3][8]

Òppo's first known paintings come from this period, notably his "triple self-portrait", which is dated 1910.[3][9]

Cartoonist and artist

He embarked on a more public career in 1910/1911 as a caricaturist for the newly launched "Idea Nazionale", a political Rome-based newspaper published weekly between 1911 and 1914 (after which it became a daily newspaper), supportive of the anti-Austrian Italian Nationalist Association.[10][11] From 1910 he devoted himself principally to painting, tending towards the style of "les Fauves" and, in particular, that of Henri Matisse.[10] During the first part of 1912 he began to participate in exhibitions, showing a painting (details unknown) at a portraits exhibition organised by the "International Artistic Association".[12] During 1913 he took part in an exhibition of the "International Artistic Circle" in Rome with five paintings described in one source as "futurist", "cubist" and "sartorian".[13] Later that year his work was on show in Naples at the "National Exhibition of Fine Arts" organised by the "Commissione Nazionale Attività Giovanile". The display included his "Castello del Mistero",[14] a dark and shadowy work believed to have been powerfully influenced by symbolism and neo-Impressionist divisionism.[6] In 1914 he contributed to the exhibition given by the Roman Secession.[12]

Emilio Cecchi, another highly respected art critic who was in addition a close friend, describes Òppo's pictures from this time as employing "colours of an acrid, biting, almost burning" character, reflecting little of the Italian modernism of artistic contemporaries, but rather imbued with "a certain Matissian influence".[6][15][16] The critic Alberto Cantù, writing in 1914, was struck by the "violence, aggression and capacity for all exesses before finding its equilibirum" apparent in Òppo's paintings.[6][17]

Meanwhile he also engaged in the networking vital to his career progression in the context of the times. Looking back in 1929 Mario Corsi recalled Òppo as having been "rather shy, and on account of the shyness a little contrary. He was always to be found in the "Caffè Greco" along the Via Condotti [in the heart of the city], at the end of the largest room at the farthest end of the establishment, known as "the omnibus", where beardless poets could interact with a few generally youthful and inexperienced jounralists, and a few artists - not al of these in their first youth".[6][18]

Come ricorda Mario Corsi (1929, p. 131), «uscito da poco dall’Accademia» Oppo era «un po’ timido e appunto per timidezza un po’ scontroso. Lo si vedeva tutte le sere al “Caffè Greco” di Via Condotti, in fondo all’ultima ristretta sala – l’omnibus – dove si davan convegno poeti imberbi […], parecchi giornalisti, per lo più alle prime armi, e qualche artista, questi non tutti giovanissimi: la falange che emigrò poi, definitivamente, nella non ingoloriosa “terza saletta” del Caffè Aragno».

Cultural organizer

From the First World War onwards he tirelessly dedicated himself to organising Italian cultural and artistic life. As well as being a highly regarded art critic writing for Rome's La Tribuna, his commitment led him to becoming an ambassador for art in public institutions. He became a deputy to Parliament and, in 1932, artistic director of the Exhibition of the Fascist Revolution. He was then appointed secretary of the Direttorio Nazionale dei Sindacati delle Arti Plastiche (National Directorate of Unions of the Plastic Arts) and secretary of the Consiglio Superiore delle Belle Arti (Superior Council of Fine Arts). However, in this field, his most successful work was setting up the Quadriennale di Roma, born from one of his ideas and guided by him as its secretary-general over its first four shows from 1931 to 1943.

During the 1930s and 1940s, he believed he should abstain from exhibiting in Italy, precisely because of his political-administrative activity in the artistic field, not that this stopped his participating in several shows abroad, such as L'art italien des XIX et XX siècles (19th and 20th Century Italian Art) at the Jeu de Paume in Paris in 1935 and at the 1939 New York World's Fair.

Post-War

Deemed free to return to the Quadriennale as an artist, in its 5th (1948) and 6th (1951) shows.

From 1949 to 1950, he was affiliated to the important collezione Verzocchi, as well as painting a charming portrait, La fiorista.[19] The Verzocchi collection is now held at the Pinacoteca Civica of Forlì.

Among his works are:

References

  1. ^ "Oppo, Cipriano Efisio". Enciclopedia Italiana. Treccani, Roma. 1935. Retrieved 1 May 2022.
  2. ^ a b Francesca F.R. Morelli; Valerio Rivosecchi. "Cipriano Efisio Oppo: Roma 1890 - Roma 1962 - organizzatore culturale, critico d'arte, pittore, scenografo". Archivio di scuola Romana. Retrieved 1 May 2022.
  3. ^ a b c d Emanuele Casalena. "Cipriano Efisio Oppo (1890-1962). L'intelligenza di promuovere l'arte italiana". Sostieni la battaglia del LiberoPensiero. "EreticaMente". Retrieved 18 May 2022.
  4. ^ "Cipriano Efisio Oppo, Roma 1892 – 1961". Archivi del Novecento, Roma. Retrieved 18 May 2022.
  5. ^ Mario Quesada; Shara Wasserman (1987). "Rome Letter From Exoticism to Abstraction Through the 1930s" (PDF). The Journal of Decorative and Propaganda Arts. Florida International University Board of Trustees on behalf of The Wolfsonian-FIU & JSTOR. p. 77, 74-77. Retrieved 18 May 2022.
  6. ^ a b c d e f g Mattia Patti (2013). "Oppo, Cipriano". Dizionario Biografico degli Italiani. Treccani (Istituto dell'Enciclopedia Italiana), Roma. Retrieved 18 May 2022.
  7. ^ a b Giambernardo Piroddi. "La Comparsa conclusionale di Giuseppe Biasi: per un'arte sarda senza complessi d'inferiorità .... Introduzione". Most of the page is given over to a long footnote. The paragraph concerning Cipriano's childhood rebelliousness in the context of his boarding school experiences at Spoleto is approximately half-way down. Diazilla.com. p. xli. Retrieved 18 May 2022.
  8. ^ Romana Sironi; Arianna Marullo. "Biografia". Archivio Mario Sironi. Retrieved 18 May 2022.
  9. ^ Cipriano Efisio Òppo. "triplice autoritratto in uno". Retrieved 18 May 2022.
  10. ^ a b "Cipriano Efisio Òppo: Roma, 2 luglio 1891 – Roma, 10 gennaio 1962". Toth Banca Dati, Londra. Retrieved 18 May 2022.
  11. ^ "Idea Nazionale, L'". Dizionario di Storia. Treccani (Istituto dell'Enciclopedia Italiana), Roma. 2010. Retrieved 18 May 2022.
  12. ^ a b "Cipriano Efisio Òppo". Artisti a Villa Strohl-Fern. Luogo d'arte e di incontri a Roma tra il 1880 e il 1956. Gangemi. 2012. pp. 175–176. ISBN 978-8849223378. Retrieved 19 May 2022.
  13. ^ Secessione romana 1913-1916 (catal.), a cura di R. Bossaglia - M. Quesada - P. Spadini, Roma 1987, p. 31
  14. ^ Cipriano Efisio Oppo. "Il Castello del Mistero, 1912–1913". Artnet Worldwide Corporation. Retrieved 19 May 2022.
  15. ^ Emanuele Greco (2017). "Gli artisti scelti e quelli esclusi: un'idea di arte italiana .... Le scelte della giuria di accettazione: gli artisti selezionati e gli esclusi .... Footnote 101" (PDF). La mostra “Fiorentina Primaverile” del 1922: Ricostruzione filologica dell'esposizione e del dibattito critico. Università degli Studi di Firenze. p. 84, 81-95. Retrieved 19 May 2022.
  16. ^ E. Cecchi, Il pittore Cipriano Efisio Oppo, in «Dedalo», VIII, vol. III, 1927-1928, pp. 696-717, pp. 698-699
  17. ^ A. Cantù, in Rassegna d’arte antica e moderna, I [1914], 5, pp. 109-111
  18. ^ M. Corsi, Artisti contemporanei: C. Efisio O., in Emporium, LXX (1929), 417, pp. 131-148
  19. ^ Cipriano Efisio Òppo. "La fiorista". Palazzo Romagnoli - Collezioni del Novecento, Forli. Assessorato alla cultura e paesaggio: Servizio patrimonio culturale, Regione Emilia Romagna, Bologna. Retrieved 18 May 2022.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Cipriano_Efisio_Oppo&oldid=1088647040"