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Sironi Mario

 

Sironi was originally from Lombardy, but spent his youth in Rome. He did technical studies and enrolled at university to study engineering, but stopped shortly after to dedicate himself to painting (1903). In Rome, he studied at the Accademia di Belle Arti’s Scuola del Nudo and at Giacomo Balla’s studio, where he met Boccioni e Severini. After living for a period in Milan, and travelling to Paris and Germany, he returned to Rome (1909), and finally moved to Milan in 1914. In those years the artist was already having key experiences and making lasting stylistic decisions: an attention to reality, to the point of provoking photographic realism, soaked through with Divisionism, in Balla’s circle between 1904 and 1906; an attraction to Futurism from ’13 to ’19; Cubist experiments which are interwoven with those into Futurism, both born of an interest in plastic forms, dynamism and formal simultaneousness on one side, and constructivism and geometric decomposition on the other. Around 1919, he became caught up in the tension of the metaphysical, in the dark balance between light and shade, almost an invitation into solitude, in the stupor at what man had accomplished, violating nature, the human, the sacred. His endeavours up until 1940 were particularly intense: painter, comic strip and poster designer, journalist, sculptor, decorator with frescos and mosaics (convinced of the public and collective purpose of art), working with architects on designing exhibitions in Italy and abroad. From the post-war onwards, the artist retired into his own studio, and stopped working on the enormous surfaces of earlier years; from the Fifties his presence at national and international art shows was significative and constant. His posthumous exhibitions confirm the standing earned by Sironi, a man who explored, and depicted the arduous roads along which Twentieth Century man has walked.

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