Roma, IT
Details
- Dimensions
- 9.45ʺW × 6.69ʺH
- Styles
- Modern
- Art Subjects
- Figure
- Item Type
- Vintage, Antique or Pre-owned
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- Condition
- Unknown, Some Imperfections
- Color
- Gold
- Condition Notes
- Very Good — This vintage item has no defects, but it may show slight traces of use\. Please note that … moreVery Good — This vintage item has no defects, but it may show slight traces of use\. Please note that an additional handling period of up to 4 weeks may apply to this item less
- Description
-
Il Timone is an original woodcut on ivory-colored paper realized by Adolfo De Karolis. The state of preservation is excellent. …
more
Il Timone is an original woodcut on ivory-colored paper realized by Adolfo De Karolis. The state of preservation is excellent. Signed and titled, Adolfo De Karolis - Il Timone, silografia, on the lower right. Adolfo De Carolis or De Karolis (Montefiore dell'Aso, January 6, 1874 - Rome, February 7, 1928) was an Italian painter, engraver, illustrator, xylographer and photographer. Protagonist of idealist and symbolist Italian art between the nineteenth and twentieth centuries, De Carolis had a decisive influence in the formative development of floral taste, operating equally in the fields of illustration, painting and photography. Frequently placed by critics in the liberty context, however, De Carolis polemically opposes his artistic faith in the Renaissance and Hermetic tradition to the organicistic vagaries of "new art", as appears in particular in an article on Leonardo after a visit to the International Art Exhibition. Decorativa Moderna in Turin of 1902. His work rather exhibits an evolution of the Pre-Raphaelite aesthetic, strongly conditioned by models and stylistic features of Japonism, on the one hand, and by a restless formalism of a Michelangelo style, on the other. De Carolis has collaborated with great writers, illustrating with drawings and woodcuts works by Gabriele D'Annunzio and Giovanni Pascoli, with an unmistakable graphic manner, decoratively organic both to the typographic architecture and to the contents. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity
issues arising from misattribution less
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