From about 1930, he became interested in classical mosaics. He painted still lifes inspired by wall paintings excavated at Pompeii and Herculaneum and undertook church commissions in mosaic. Even his 1934 portrait of his daughter Gina (below) shows the influence of mosaics.
|Gino Severini, Portrait of Gina Severini. (1934) |
Turin, Civica galeria d'arte moderna
Unfortunately, it's hard to show them here. They are in the open air, under glass and reflect the sky, so it's impossible to get a good photo of them. The detail at the head of this post is the best I could make.
Not only are the mosaics difficult to photograph, the reflections make it difficult to see them at all. Why are they covered up like this? There doesn’t seem to be any danger from tourists because the Via Crucis is off the beaten track and difficult to climb in the summer - hardly anyone visits it.
|Holiday crowds along the Via Crucis, Cortona. |
Severini's mosaics are in the niches covered with pitched roofs
Severini's cartoons for the mosaics are on show in the Museo Diocesano del Capitolo di Cortona. You can get a better view of the cartoons than the mosaics, but even those are not very well displayed and the museum has no notes, no book and no postcard reproductions.
|Gino Severini, The Deposition (1944). Cartoon for the mosaic. |
Museo Diocesano del Capitolo di Cortona.
The red sky is characteristic of the series.
I have been unable to find any good reproductions of the Stations of the Cross anywhere. Four were put on Maltese postage stamps, and there are six small images on the Cortona website.
The neglect of these works is typical of the neglect of traditional twentieth century art. My introduction to modern art was Herbert Read's Concise History of Modern Painting, written at the high tide of abstract expressionism in the late 1950s and giving the impression that the only important art was that which led to Jackson Pollock, Mark Rothko and Willem de Kooning.
Severini's Futurist career covered seven years. His post-Futurist career covered fifty years and was extremely productive. His entire career was covered in the exhibition at MART in Trento last year, curated by Daniela Fonti (below). It should receive better coverage outside Italy.
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