Giulio d'Anna, born on August 28, 1908, in Villarosa, Enna, Italy, was a pioneering figure in the Italian avant-garde movement, particularly known for his contributions to Futurism and his unique aeropittura style. His artistic journey began after the death of his father, Giuseppe, which led him to move with his older brother Giacomo, first to Palermo and later to Messina. In Palermo, d'Anna worked in the Trimarchi Library and, at the tender age of eighteen, had his first encounters with Futurism, a movement that would greatly influence his work. He was largely self-taught in artistic techniques, which allowed him to develop a distinctive style. The move to Messina proved to be a significant turning point in d'Anna's career. He was employed in the Principato Brothers Library, where he met Guglielmo Jannelli, who became his mentor and introduced him to the futurist pictorial technique, particularly in the aeropictorial field. This period was marked by the influence of Fortunato Depero, who directed d'Anna towards Futurism and aeropainting during an exhibition in 1926. D'Anna's work was characterized by the aeropittura style, a branch of Futurism that emerged after the First World War. Aeropainting celebrated the modernity, dynamism, and speed of airplanes, encapsulating the Marinettian movement's enthusiasm for flight. For d'Anna, this style was not only an artistic expression but also a personal aspiration and a form of escape, as he imagined the journeys he could only experience through his art, having never flown himself. His first solo show took place in 1931 at the Galleria Vittorio Emanuele III in Messina, where the Italian poet and founder of Futurism, Filippo Tommaso Marinetti, expressed his admiration for d'Anna's work. Marinetti's encouragement led d'Anna to participate in major national Futurist exhibitions. D'Anna's talent was recognized when he became the first painter from Messina to exhibit at the 19th Venice Biennale in 1934 and at the second Rome Quadrennial the following year. He also won the first prize among young artists at the Colonial Art Exhibition in Paris. Despite his growing reputation as an artist, d'Anna did not abandon his family's bookshop in Messina, which became a cultural hub for the city. The shop was frequented by intellectuals, poets, writers, and painters, including members of the futurist group of Messina led by Guglielmo Jannelli. D'Anna's works, which often incorporated collage as a pictorial language, were distinctive and did not strictly adhere to the tenets of Aeropittura as dictated by the Manifesto. His unique approach set him apart from his contemporaries, such as Tato and Crali, whose works were more uniform due to their adherence to Marinetti's guidelines. Throughout his career, d'Anna's paintings were featured in key galleries and museums, including Gladwell & Patterson. His works have been offered at auction multiple times, with prices ranging from modest to significant sums, reflecting the size and medium of the artwork. The record price for his work was set at Christie's Milan in 2013, when his painting "Idrovolante" sold for 146,234 USD. Giulio d'Anna's legacy extends beyond his paintings. He was a central figure in the Sicilian artistic avant-garde and played a crucial role in bringing Sicilian Futurism to light. His contributions to the movement have been recognized and appreciated both in Italy and internationally. His works can be found in many international museums and continue to be showcased in reputable auction houses around the world. Giulio d'Anna passed away in 1978, leaving behind a rich body of work that continues to inspire and captivate art enthusiasts and collectors. His life and art remain a testament to the power of imagination and the enduring influence of the Futurist movement.

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Gino De-Dominicis Biography

Gino De Dominicis was an Italian artist born in Ancona in 1947 and passed away in Rome on November 29, 1998. He emerged as a controversial figure in the Italian art scene post-World War II, distinguishing himself through a diverse array of techniques and self-identifications as a painter, sculptor, philosopher, and architect. De Dominicis' work is characterized by its independence from contemporary fashions and neo-avant-garde groups, making it difficult to categorize within specific artistic currents such as Arte Povera, Transavanguardia, or conceptual art, all of which he rejected. De Dominicis cultivated an aura of mystery and unavailability around himself, selectively participating in exhibitions and public appearances. This approach contributed to his reputation, which developed as much from his absence as from his presence. Notably, in 1999, Harald Szeemann dedicated an exhibition to him at the 48th Venice Biennale. In 2010, the MAXXI in Rome hosted the first major retrospective of De Dominicis' work, curated by Achille Bonito Oliva, marking the museum's inaugural exhibition. Further showcasing his international recognition, in 2017, the Luxembourg & Dayan gallery in London held a solo exhibition of his works from the collection of Guntis Brands. De Dominicis often drew inspiration from mythical and epic figures, such as Gilgamesh, the Sumerian king seeking immortality, and Urvashi, the Hindu Veda goddess of beauty. His paintings explore themes of immortality, beauty, and esotericism, featuring surreal imagery and figures undergoing various transformations. His approach to painting, using basic materials like tempera and pencil on board, emphasized the human figure and conveyed a sense of enigmatic suspension. In his lifetime, De Dominicis was known for his provocative acts and exhibitions. For instance, at a significant exhibition in Venice, he presented a living person with Down syndrome as an art piece, challenging conventional notions of art and ethics. This act was widely discussed and even referenced by notable figures such as poet Eugenio Montale in his Nobel Lecture. De Dominicis' return to painting in the 1980s marked a renewed interest in exploring the coexistence of mythical figures through his art. One of his notable works from this period, "Senza titolo (Untitled)," 1988, features two white silhouettes on a black panel, separated by the image of a prism, symbolizing a moment of revelation between the figures. Throughout his career, De Dominicis maintained a critical stance towards photography, attributing no documentary or publicity value to it. This choice further contributed to the mystique surrounding his work and persona. His exhibitions spanned various venues, including Galleria L’Attico and Galleria Pieroni in Rome, Galleria Toselli in Milan, and Galleria Mazzoli in Modena, among others. De Dominicis' work and life were marked by a continuous exploration of the boundaries between reality and myth, the material and the immaterial. He viewed the artist as a figure capable of opposing predetermination in life, a theme that resonates throughout his oeuvre. His legacy is that of an artist who defied convention, seeking to explore and express the infinite possibilities of human creativity and imagination.

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