Original 1901 Lionello Balestrieri Beethoven etching On Woven paper Signed MSee

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Original 1901 Lionello Balestrieri Beethoven etching On Woven paper Signed MSee:
$500.00

Original 1901 Lionello Balestrieri Beethoven etching On Woven paper~ Signed!An Excellent work of art. Theetching size is desirable and easy to display at 22-1/2\'in x 11\'in unframed, and just shy of 25 \'in wide x 14\'1/2 Tall as Framed! The thickness of the frame is 1\'in as measured at the outside frame rim. just right!This is an excellent example of a genuine signed etching by one of the masters of his day.I can assure you of the authenticity of this work.On the backside of the etching there is writing very lightly by pencil that reads: 5730 over~ B-408~I kept the original \'emporium \' framers sticker that was on the back-it is brittle, but it is original and it~was framed there, long ago. also, the 5730 number on the name sticker matches the number written on the back of the etching. See picsOne can feel the actual plate impression around the outer edges~and the plate cuts/impressions are felt to the touch.see the pics and you can see the steps i took to make sure of its originality~I took the etching out. I had to so i could give an honest and correct description.When the glass is on top of the work, then the hard part is getting a clear look when checking details~this is the real deal folks, excellent size, condition and old school frame.I guarantee this work to be original/authentic.On the back wood board the outer edges were covered in black artists paper tape over backing slot/s.The tape was too brittle to save, I have takin 2 pics showing where i took the rest of the tape away to inspect the pieceThe etching only has a tiny flee bite at the top right corner and a couple frame scuff to same side~ See second pic for this side view,No Biggies~No surprises~ See all Pics...I took great care handling when i removed the piece from the frame. 3 of the brad nails i did not put back in because they were too rough to re-use-but the etching is as secure as before i removed it from the frame. but no problems, the etching is secured very well.The etching is free of creasing. There are no water damage, No major issues...The quartersaw frame is a walnut or oak with large graining lines and is as old as the etching is, at least. Very Good condition for the frame minus some common antique use, like scuff/scratch , nics, scrapes, but it is a tight frame , still nice , original and of high quality.In my opinion, The etching is in excellent+++ condition, expecially for its age ~ 116 years Old now and counting! an excellent investment piece. Can\'t take your eyes away, you can see the actual self portrait of this artist sitting on the left with a young lady leaning her head on him. But then, this fella next to him has his head in his hands-its a very somber and emotional scene. Then, looking at the center top middle, one see\'s a face that looks suspended in air. I often thought the scene was a wake judging by the reactions shown in the etching or beethoven was making them that way with what he was playing- He could play sad music very well. and of course Beethoven is sitting at the piano with a violin player { an actual friend ofLionello Balestrier} standing behind~ him.To me, the artwork on the walls and the type of room in the etching look like an artists studio and maybe it was the artists own studio where the plate was cut? I don\'t know~ The story is that, the house is the friends, but not proven.The artist was just 28 years old when he did this etching. The work is open to ones own interpretation. one always see\'s something new in the piece...The best genuine example on right now!Authenticity is guaranteed!please do not checkout if your the buyer of this etching. I will need to add final value for insurance only-.I will ship the item extremely safe for free with signature delivery at my expense.I cannot ship to P.O. Box , so please use only a physical u.s. address.
FREE SHIPPING!Lionello Balestrieri- for more details see artists info below.

Lionello Balestrieri(12 September 1872–October 24, 1958) ~

was anItalianpainter and engraver, active in various styles mainly Paris and Naples.

Biography[edit]

He was born inCetonain the province of Siena,Tuscany, to a mason of modest means. But his skills gained him admission first to the Institute of Fine Arts of Rome, then of Naples. In Naples, Balestrieri was forced to support himself as a decorative painter for rooms in private residences, but continued studying underGioacchino Toma. Then briefly re-enrolled in theInstitute of Fine Arts in Naples, then underFilippo PalizziandDomenico Morelli. However, lured by the bohemian artistic circles of Paris, at the age of 20 years he moved there, working as an assistant to the Florentine engraverOsvaldo Tofani. Balestrieri contributed engravings for an edition of Dante\'sDivina Commediapublished byVittorio Alinariin 1900.[1]He became friend and apartment-mate, with a violinist, Giuseppe Vannicola, whom he depicting in a canvasWaiting for the glory, exhibited at the 1897 Paris Salon.

Music continued to inspire his art for decades. In 1898, he painted theDeath of Mimì(Museum of the City, New York), for which Balestrieri painted himself as Rodolfo. In 1899, he painted a canvas depictingBeethoven (Kreutzer Sonata), which after winning an award at the1900 Universal Exposition in Parisand in 1901 in Venice, brought him fame. The painting depicts a dimly lit garret-like apartment with a strand of listeners along the left wall, each in their own mood, while a violinist plays between them and a furnace. The face of the musician is hidden, and the wall has the empty gaze of a plaster mask of Beethoven.[2]Numerous reproductions were made and sold of the painting.

By the 20th century he had become to know prominent composers such asPuccini,GiordanoandCilea. In 1902, when his mentor Morelli was dying, he travelled to Naples; from this encounter came another prominent work:The last days of Domenico Morelli, first exhibited in Monaco (1902), then in Venice (1903),[3]and now on display at the Galleria Civica of Udine.

Balestrieri continued to paintRomanticsubjects, tinged with emotion, specially referring to music. His style often changed with exposure to other currents such asImpressionism, theMacchiaiolistyle, but also styles compelled by a social realism. However, in 1914, he left Paris and settled in Naples, where he was recruited to direct the Institute of Fine Arts. In Naples, he often favore landscapes, but also painted many genre scenes and portraits.

He was briefly linked to a group of artists calling themselves theGruppo degli Ostinati(Group of Obstinates); includingAlberto Chiancone,Franco Girosi(1896-1987),Giovanni Brancaccio,Eugenio Viti, andFrancesco Galante; meeting at the Caffè Tripoli atPiazza del Plebiscito; and urging the introduction of Modernist styles into the Neapolitan art circles.[4]By the 1920s under the influence of Futurism, he painted works such as \"Musical Sensations (1923), and also painted works celebratingFascistpower and Mussolini, such asVictorious March. In the 1950s, he experimented with modernist, cubist canvases. Late in life, he decided to return to Cetona, still painting landscapes when he died.[5]

In his hometown of Cetano, a foundation named after the painter was established with the aim of fostering cultural events. It has organized, with the help of the comune, a number of restrospectives of the painter and his circle, including one in 2015 at the Palazzo Minutelli Ciolo (city hall).[6]