Gino Severini Art for Sale: Prints & Originals

Severini's artistic journey began in Rome in 1899, where he studied Divisionist techniques under Giacomo Balla alongside Umberto Boccioni. This early training laid the foundation for his future explorations in Futurism and Cubism.

In 1906, Severini moved to Paris, a decision that would profoundly influence his artistic development. Severini's position as a bridge between Italian Futurism and French avant-garde circles made him an important figure in the merging of artistic approaches. His work synthesised the dynamic energy of Futurism with the analytical approach of Cubism, creating a style that set him apart from his contemporaries.

Severini's career reached a significant milestone in 1910 when he became a signatory of the Manifesto Of Futurism, aligning himself with the movement's emphasis on speed, technology, and modernity. However, his time in Paris allowed him to develop a more nuanced approach, incorporating elements of Cubism into his Futurist works.

The artist's most celebrated period came during the 1910s and early 1920s when he produced some of his most iconic works. Paintings such as Dynamic Hieroglyphic Of The Bal Tabarin (1912) exemplify his ability to capture the frenetic energy of modern life through a fragmented, rhythmic style.

In the 1920s, Severini's work took a more classical direction, reflecting a broader 'return to order' in European art. This period saw him explore traditional subjects and techniques, yet he maintained elements of his earlier avant-garde approach. Throughout his career, Severini also made significant contributions to art theory, publishing Du Cubisme Au Classicisme in 1921, which outlined his ideas on the mathematical basis of painting.

Severini's The Black Cat (1910–1911) stands as a testament to his experimentation with Futurist ideas and Cubist techniques. The painting, acquired by Nell Walden in 1912, captures Severini's evolving style, with its kaleidoscopic use of colour and fragmented forms conveying the dynamism and complexity of modern life. Severini drew inspiration from Edgar Allan Poe’s story The Black Cat. Initially part of Walden’s collection, the painting travelled through significant exhibitions, including those of the Der Sturm gallery, before eventually finding a permanent home in the National Gallery of Canada in 1956. Severini's The Black Cat not only exemplifies the intersections of Futurism and Cubism but also offers a glimpse into the vibrant cultural networks that supported avant-garde artists in the early 20th century.
From 1924 to 1947, Gino Severini made a significant impact on religious art in Switzerland through his work with the Groupe de Saint-Luc. This group, founded in 1919 by the painter Alexandre Cingria, sought to modernise religious art in the Catholic dioceses of Lausanne, Fribourg, and Geneva. During this period, Severini completed five major church decorations, blending modernist techniques with religious iconography. His innovative use of materials marked a departure from traditional ecclesiastical art.
Severini’s fascination with dance and movement is evident throughout his career, and the 1955 lithograph La Danseuse exemplifies depiction of dynamism and rhythm. In this work, Severini uses fragmented forms, with overlapping geometric shapes and bold colours, to convey the movement of a dancer. The angular and abstracted lines draw the viewer into a sense of motion, with vibrant pinks, blues, and yellows that echo the energy of the dance. The figure, though abstract, retains a sense of elegance, captured in mid-motion, as if spinning on stage. The lithograph showcases how Severini merged the Futurist concern with speed and motion with the structural, analytical approach of Cubism. La Danseuse explores the emotional and physical vitality of dance, which he viewed as a metaphor for the pulsating rhythms of the modern world.