The Italian painter Bruno Amadio, who worked under the pseudonym Giovanni Bragolin, is considered to be the most dramatic and sinister artist in the history of art of the 20th century, who was called the devil painter. His name, in particular, is associated with a terrible story that terrifies many who have encountered his creation “The Crying Boy”, covered in a terrible legend, rumors and speculation.
A few words about the artist
Bruno Amadio (Giovanni Bragolin) was born in 1911 and lived a fairly long life, leaving a number of art paintings that depict crying children. Despite the fact that the artist lived in the last century, very little information has been preserved about him. After his life, there were practically no personal photos left, he never gave interviews to journalists, art historians did not write their reviews about him. It is only known that in the war years he was a member of World War II, who fought on the side of Mussolini. At the end of the war he moved to Spain, and already there he changed his real name from Bruno Amadio to Giovanni Bragolin. Later he lived and worked in Venice, was a restoration artist. Continue reading
History did not preserve the name of the tourist that the first one wanted to take away from Italy a picturesque “postcard” in memory of the trip and thereby laid the foundation for a whole direction in the visual arts. However, it is unlikely that such a lover of beauty was the only one – this country in the south of Europe would sooner or later seduce connoisseurs with its landscapes immortalized on canvas.
Translated from Italian, “Veduta” means “view”. This is a picture, drawing or engraving, which details the city landscape. In fact, Veduta is the prototype of photography, the golden rule of this genre is great accuracy. Therefore, the one who ordered the artist a city landscape really took home the memories of his journey. Continue reading
The young ladies of the 19th century were not so different from the modern ones: they also needed attention, recognition, evidence of sympathy from friends and, of course, a cordial secret, which was expressed in allegories and symbols – often poetic. Now social networks are used for this, then – albums, quite intimate, but not closed from other manuscript books.
Unlike diaries closed from prying eyes, albums were created to be shown – to friends and relatives, to those who would also be asked to leave a record. The albums were filled with the “wrong hand”, but at the same time bore the imprint of the owner’s personality – it was he who determined who to include in his inner circle and whose work to keep as a keepsake. Continue reading