{"id":8967,"date":"2017-02-10T11:51:17","date_gmt":"2017-02-10T10:51:17","guid":{"rendered":"https:\/\/segantiniearco.it\/su-giovanni-segantini\/"},"modified":"2021-01-17T12:47:51","modified_gmt":"2021-01-17T11:47:51","slug":"about-giovanni-segantini","status":"publish","type":"page","link":"https:\/\/segantiniearco.it\/en\/about-giovanni-segantini\/","title":{"rendered":"About Giovanni Segantini"},"content":{"rendered":"
\n
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ABOUT GIOVANNI SEGANTINI<\/h1>\n<\/div>\n<\/div><\/div><\/div><\/div>
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VIDEO<\/div>\n \n \t\n \t\tSEGANTINI, RITORNO ALLA NATURA\n \t<\/a>\n\t\t\n \n \n \n

A film by Francesco Fei with Filippo Timi | 2016.
\nA reduced version created ad hoc for the \"Segantini and Arco\" project can be watched in one of the rooms of the Galleria Civica G. Segantini, Arco<\/p>\n\n <\/a>\n \n \n\t\t\n \t<\/div>\n <\/div>\n \n

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READING<\/div>\n \n \t\n \t\tServaes talks about Segantini\n \t<\/a>\n\t\t\n \n \n \n

Our translation of Servaes's biography is available online | 1902-2015<\/p>\n\n <\/a>\n \n \n\t\t\n \t<\/div>\n <\/div>\n \n

<\/div>\n\t\n\t\n\t\n\t\n<\/div>\n<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>
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\n \n \"\"\n \n
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VIDEO<\/div>\n \n \t\n \t\tSEGANTINI, RITORNO ALLA NATURA\n \t<\/a>\n\t\t\n \n \n \n

A film by Francesco Fei with Filippo Timi | 2016.
\nA reduced version created ad hoc for the \"Segantini and Arco\" project can be watched in one of the rooms of the Galleria Civica G. Segantini, Arco<\/p>\n\n <\/a>\n \n \n\t\t\n \t<\/div>\n <\/div>\n \n

<\/div>\n\t\n\t\n\t\n\t\n<\/div>\n<\/div>\n<\/div><\/div><\/div>
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\n\n\t\n\t\n\t\tNo records found<\/strong>\n\t\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>
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THE LIFE OF SEGANTINI<\/h4>\n<\/div>\n<\/div><\/div><\/div><\/div>
\n
\n\t
\n
    \n
  • \n
    1858<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Giovanni Battista Emanuele Maria Segantini born at Arco on 15 January<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1861<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Italy achieves unification and the Kingdom of Italy constituted<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1865<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini’s mother, Margherita, dies: Segantini is put on the care of his step-sister, Irene, in Milan<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1870<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Accused of vagrancy, Segantini is interned in the Riformatorio Marchiondi in Milan<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    In Milan two brothers Vittore and Alberto Grubicy: establish a businessselling works of art<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1871<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Roma is proclaimed capital of the Kingdom of Italy
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1873<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini moves into the home of his brother, Napoleone, owner of a photographic studio at Borgo Valsugana: here he learns the art of photography<\/span>
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1874<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    In Paris, the first impressionist exhibition is held in the studio of the photographer Nadar<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1875-1879<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini returns to Milan and begins to attend courses at the Accademia di Brera, becoming one of the most gifted artists of the Milanese school
    \n<\/span><\/p>\n

    He works as an apprentice in the Milanese studio of the painter Luigi Tettamanzi<\/span>
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The Third Republic is established in France (1875)<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    A Brera Segantini diventa amico degli artisti Gaetano Previati, Emilio Longoni, Angelo Morbelli, Leonardo Bistolfi, Cesare Tallone, Ernesto Bazzaro, Attilio Pusterla, Emilio Quadrelli e Giovanni Sottocornola<\/p>\n

    Also at the Brera Segantini frequents Eugenio Quarti e Carlo Bugatti, both cabinetmakers<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1879<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    At the Brera national exhibition, his <\/span>Il coro di Sant’Antonio <\/span><\/i>(<\/span>The Choir of St. Anthony Church in Milan<\/span><\/i>)<\/span> wins a prize: it is the first official recognition Segantini receives
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Segantini meets the art dealer Vittore Grubicy, who has him sign an exclusive contract with his gallery: here he comes into contact with important personalities of the European artistic and cultural scene<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1880<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    In the “Corriere della Sera” critic Luigi Chirtani publishes one of the first positive opinions concerning the early art of Segantini<\/span>
    \n<\/span>The correspondence with Vittore Grubicy begins
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1881<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini moves to Pusiano in Brianza: here he meets Bice Bugatti, with whom he will spend the rest of his life<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1882<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    His first child, Gottardo, is born in Pusiano<\/span>
    \n<\/span>
    \n<\/span>He paint the first version of <\/span>Ave Maria a trasbordo <\/span><\/i>(<\/span>Ave Maria crossing the Lake<\/span><\/i>)<\/span>
    \n<\/span><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Giuseppe Garibaldi dies at Caprera
    \nTriple Alliance between Germany, Austria and the Kingdom of Italy: with this agreement Italy renounces all claims to Trento and Trieste. The irredentists revolt<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The painter Emilo Longoni joins the Galleria Grubicy: for two years he lives in Brianza, in a partnership of life and work with Segantini<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1883<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    His second child, Alberto, is born in Pusiano<\/span>
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The Galleria Nazionale di Arte Moderna (National Gallery of Modern Art) is founded in Rome, with the task of documenting the contemporary art of a united Italy<\/p>\n

    International exhibition in Amsterdam (gold medal for Ave Maria a trasbordo <\/i>\/ Ave Maria crossing the Lake<\/i>)<\/p>\n

    On 20 January, a power of attorney recognises Victor Grubicy’s exclusive right tp Segantini’s artistic production<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1884<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Georges Seurat starts painting <\/span>Un dimanche apr\u00e8s-midi \u00e0 l’\u00cele de la Grande Jatte <\/span><\/i>(<\/span>A Sunday afternoon on the Island of La Grande Jatte<\/span><\/i>)<\/span>: this marks the beginning of Pointillism
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Emilio Longoni breaks off relations with Segantini and Vittore Grubicy who had signed some of his works with the name of Segantini<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1885<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini moves to Caglio in Brianza, where he paints <\/span>Alla stanga <\/span><\/i>(<\/span>At the Pen<\/span><\/i>)<\/span>, which he completes in February of the following year<\/span><\/p>\n

    A third son, Mario, is born in Caglio<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Universal exhibition in Antwerp, in which Segantini also partecipates<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    First solo exhibition at the Palazzo della Societ\u00e0 per le Belle Arti ed Esposizione Permanente of Milan<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1886<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini settles in Milan, where his last child, Bianca, is born<\/span>
    \n<\/span>
    \n<\/span> In August he moves to Savognino in Switzerland: here he repaints <\/span>Ave Maria a trasbordo <\/span><\/i>(<\/span>Ave Maria crossing the Lake<\/span><\/i>)<\/span> in a divisionist manner
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    In Paris, the eight and last impressionist exhibition is held<\/p>\n

    Universal exhibition in Amsterdam and gold medal for Alla stanga <\/i>(At the Pen<\/i>)
    \n<\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    On 26 May Segantini signs a power of attorney in favour of Alberto Grubicy that lightens the contractual links with his brother Vittore<\/p>\n

    Segantini begins to establish important links by correspondence with painters, critics and artistic promoters of the time<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1887<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Barbara Huffer is hired as a maid in the Segantini household: she will often pose as a model for the artist<\/p>\n

    Segantini renounces his mother\u2019s bequest in favour of the poor of the town of Arco<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Segantini meets the scapigliato<\/em> (bohemian) writer Eugenio Bermani, for whom he produces the cover of his novel Frate Gaudenzio<\/em><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1888<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini consolidates his international reputation by participating with the Galleria Grubicy at the Italian Exhibition<\/em> within the context of the universal exhibition in London<\/span>
    \n<\/span>
    \n<\/span> He starts writing articles about art, which are published in specialised magazines
    \n<\/span>
    \n<\/span> He paints<\/span> Vacche aggiogate (Cows Yoked), Ragazza che fa la calza (Girl Knitting), Allo sciogliersi delle nevi (During the Thaw), Ritorno all\u2019ovile (Return to the Sheep Shed), I miei modelli (My Models)<\/span><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    In Paris, the Nabis group is formed, whose manifesto is Le talisman by Paul S\u00e9rusier. In Arles, Vincent van Gogh paints Les Tournesols <\/em>(The Sunflowers<\/em>), La chambre de Van Gogh \u00e0 Arles <\/em>(Bedroom in Arles<\/em>), La Terrasse du Caf\u00e9, la Nuit <\/em>(Cafe Terrace at Night<\/em>): these mark the expressionist advent of his painting<\/p>\n

    In London, the first exhibition of the Arts and Crafts movement opens<\/p>\n

    The Galleria Nazionale di Arte Moderna of Rome buys Alla Stanga (At the Pen)<\/em>: this is the first of Segantini\u2019s works to enter a museum<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1889<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Paris Universal Exhibition (Gold Medal for Vacche aggiogate<\/em> \/ Cows Yoked<\/em>)<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Segantini rebels against the strict artistic monopoly of Vittore Grubicy: his brother Alberto becomes his new patron<\/p>\n

    The exchange of letters with Vittore Grubicy becomes rarer and that with his brother Alberto intensifies<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1890<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini<\/span> paints <\/span>Ritorno dal bosco <\/span><\/i>(<\/span>Return from the Woods<\/span><\/i>)<\/span>, Aratura <\/span><\/i>(<\/span>Ploughing<\/span><\/i>)<\/span> and <\/span>Alpe di maggio (Goat with her Kid)<\/span><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The frequent correspondence with the Trentino scholar Vittorio Zippel begins. Zippel becomes his main point of reference for contacts with his native land<\/p>\n

    Personal exhibition at the Dowdeswell Gallery in London<\/p>\n

    Personal exhibition at the VII Salon des XX in Brussels<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1891<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    On 1 February the first theoretical text by Segantini, Cos\u00ec penso e sento la pittura<\/em>, is published in in the magazine \u201cCronaca d\u2019arte”
    \n<\/span>
    \n<\/span> He paints <\/span>Mezzogiorno sulle Alpi<\/span><\/i> (Midday in the Alps<\/em>)
    \n<\/span>
    \n<\/span> He paints his large picture the great painting Il castigo delle lussuriose <\/em>(The Punishment of Lust<\/em>) which marks the start of the symbolist phase of his painting<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    In Milan the first edition of the Triennale of Brera is held, considered the official debut of Divisionism in Italy: Segantini participates with Le due madri <\/em>(The Two Mothers<\/em>)<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Segantini opens contacts with gallery owners Arnold of Dresden and Schultze of Berlin, without the mediation of Alberto Grubicy<\/p>\n

    A close correspondence with the writer Neera begins<\/p>\n

    Personal show at the Galleria Grubicy in Milan<\/p>\n

    In the \u201cGazzetta Ferrarese\u201d Gaetano Previati documents the symbolist direction adopted by the artist<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1892<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini paints <\/span>Meriggio sulle Alpi <\/span><\/em>(<\/span>Midday in the Alps<\/span><\/em>)<\/span> and<\/span> Vacca bruna all’abbeveratoio <\/span><\/em>(<\/span>Brown Cow at the Trough<\/span><\/em>)<\/span>
    <\/span><\/em><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The Secession movement rejecting traditional art, the first of its kind, develops in Munich, followed in the following years by the Vienna and Berlin Secessions<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Correspondence with Vittorio Zippel for obtaining a passport from the Municipality of Arco to travel abroad. In “Cronaca d’arte” Gaetano Previati writes and article of unconditional praise for the art of Segantini<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1893<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini writes the symbolic tale<\/span> Sogno di un lavoratore<\/span><\/i>
    \n<\/span>
    \n<\/span>He paints <\/span>Pascoli alpini <\/span><\/i>(<\/span>Alpine Pastures<\/span><\/i>) <\/span>and<\/span> L’ora mesta<\/span><\/i> (The melancholy hour<\/em>)
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    First official exhibition of the Secession in Munich (gold medal for Mezzogiorno sulle Alpi \/ Midday in the Alps<\/i>)<\/p>\n

    Edvard Munch paints L’urlo <\/i>(The scream<\/i>): the picture anticipates the great themes of early-twentieth-century expressionist painting<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The \u201cLa battaglia per l\u2019arte\u201d magazine is founded in Milan: in it, Segantini publishes an article titled Sentimento e natura<\/em><\/p>\n

    The first issue of “The Studio” monthly magazine is published in London<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1894-1899<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    A dense correspondence begins with Giuseppe Pellizza da Volpedo, Domenico Tumiati, Guido Martinelli, Luigi Illica, Eugenio Bermani, Angelo Orvieto, Vittorio Pica, Gerolamo Rovetta and some foreign artists: they are in various ways letters of acknowledgement and thanks
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1894<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    The Segantini family moves to Maloja in the Upper Engadine:\u00a0for the artist, these are years of profound isolation, but of great commercial success<\/span>
    \n<\/span>
    \n<\/span> He paints <\/span>L’Angelo della vita <\/span><\/i>(<\/span>The Angel of Life<\/span><\/i>)<\/span> and <\/span>Le cattive Madri <\/span><\/i>(<\/span>The Bad Mothers<\/span><\/i>)<\/span>
    \n<\/span><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The Affaire Dreyfus hits the front pages in France<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Direct relations with art dealers Paul and Bruno Cassirer and Felix Koenigs in Berlin are established<\/p>\n

    Segantini meets the painter Giovanni Giacometti, with whom he will share the adventure of the Engadine Panorama<\/p>\n

    Personal exhibition at the Castello Sforzesco in Milan<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1895<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini paints <\/span>Ritorno al paese natio<\/span><\/i>
    \n<\/span>
    \n<\/span> He donates the drawing of <\/span>All’arcolaio<\/span><\/i> (At the Spinninh Wheel<\/em>) to the community of Tione, struck by a devastating fire
    \n<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    First Venice Biennale (government prize for Ritorno al paese natio \/ Homecoming<\/i>)<\/p>\n

    \u201cEmporium, Rivista mensile illustrata d\u2019arte\u201d, a monthly art magazine, is founded in Bergamo<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Segantini meets the painter Cuno Amiet, a pioneer of modern art in Switzerland<\/p>\n

    Correspondence with Vittorio Zippel for the granting of Italian citizenship<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1896<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini begins designing the Engadine Pavilion for the 1900 Universal Exhibition<\/span><\/p>\n

    He paints <\/span>Amore alla fonte della vita <\/span><\/i>(<\/span>Love at the Source of Life<\/span><\/i>)<\/span>
    \n<\/span><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Giuseppe Pellizza da Volpedo starts to paint Il Quarto Stato <\/i>(The Fourth Estate<\/i>), where the divisionist technique is combined with the theme of social engagement<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The artist Paolo Troubetzkoy dedicates a bronze bust to Segantini<\/p>\n

    Personal show at the fourth Secession exhibition in Munich<\/p>\n

    After seeing L\u2019ora mesta <\/em>(The melancholy hour<\/em>) in Munich, the director of the Alte Nationalgalerie in Berlin seeks to buy it for his museum.In the same year Aratura (Ploughing) is acquired by the Neue Pinakothek of Munich<\/p>\n

    Personal exhibitions in Berlin and Zurich<\/p>\n

    Two biographical essays on Segantini appear in \u201cEmporium\u201d by Neera and \u201cIl Focolare\u201d by Virgilio Colombo<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1897<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    Segantini makes the wooden model of the Engadine Pavillon<\/span>
    \n<\/span>
    \n<\/span> He paints <\/span>Primavera sulle Alpi <\/span><\/i>(<\/span>Springtime in the Alps<\/span><\/i>)<\/span> and <\/span>L’evocazione creatrice della musica <\/span><\/i>(<\/span>The creative Evocation of Music<\/span><\/i>)<\/span>
    \n<\/span><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Second Venice Biennale: Segantini partecipates with Pascoli di Primavera (Spring Pastures)<\/i> and Il ritratto di Carlo Rotta <\/i>(Portrait of Carlo Rotta<\/i>)
    \n<\/i><\/p>\n

    \u201cVer Sacrum\u201d is published for the first time;\u00a0this is the official organ of the Vienna Secession, published in the same year as the scission of a group of artists from the Wiener K\u00fcnstlerhaus<\/p>\n

    The weekly “Dekorative Kunst\u201d is founded in Munich<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Segantini establishes independent relations with Hermes, an art dealer from Frankfurt
    \nAt the end of August the volume by William Ritter financed by the Austrian state is published in Vienna<\/p>\n

    Personal exhibition in Frankfurt<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1898<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    The Engadine Pavilion project is abandoned due to high costs: Segantini resizes it in <\/span>Trittico della Natura<\/span><\/i> (Triptych of Nature<\/em>)
    \n<\/span>
    \n<\/span> He produces three drawings for the illustrated Bible of Amsterdam<\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    The Berlin Academy refuses to exhibit a landscape by Walter Leistikow.\u00a065 artists take up his cause and establish an independent gallery: this marks the beginning of the Berlin Secession<\/p>\n

    In Vienna, the first official exhibition of the Secession is held:\u00a0Segantini participates as guest of honour alongside Khnopff, Puvis de Chavannes, \u00a0Meunier, Rodin and von Stuck<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    For about two months the painter Carlo Fornara stays at Maloja workink as an assistant to Segantini<\/p>\n

    Personal exhibition in Frankfurt<\/p>\n

    He writes and article titled Che cos\u2019\u00e8 l\u2019arte<\/em> for \u201cVer Sacrum\u201d<\/p>\n

    In London he is nominated adviser to the \u201cInternational Society of Sculptors, Painters and Carvers\u201d, a secessionist group rejecting the traditionalism of the Royal Academy.<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n

  • \n
    1899<\/div>\n
    \n
    \n\n\n
    <\/td>\n\n

    On 28 September, Segantini dies, struck down by peritonitis on the Schafberg, a mountain he had climbed to work on the Trittico della Natura<\/em> (Triptych of Nature<\/em>) <\/span><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    In Berlin, the first official exhibition of the Secession is held<\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n

    \n\n\n
    <\/td>\n\n

    Personal exhibitions in Berlin and Brussels<\/p>\n

    In Milan and in Arco a Committee for a Monument to Giovanni Segantini is created, on the initiative of Tomaso Bresciani, to which the painters Eugenio Prati and Bartolomeo Bezzi adhere<\/p>\n

    In \u201cMarzocco\u201d, Gabriele d\u2019Annunzio publishes Per la morte di Giovanni Segantini: laudi del cielo del mare della terra e degli eroi<\/i><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

    ABOUT GIOVANNI SEGANTINI<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-8967","page","type-page","status-publish","hentry"],"yoast_head":"\nAbout Giovanni Segantini - Giovanni Segantini<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/segantiniearco.it\/en\/about-giovanni-segantini\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"About Giovanni Segantini - Giovanni Segantini\" \/>\n<meta property=\"og:description\" content=\"ABOUT GIOVANNI SEGANTINI\" \/>\n<meta property=\"og:url\" content=\"https:\/\/segantiniearco.it\/en\/about-giovanni-segantini\/\" \/>\n<meta property=\"og:site_name\" content=\"Giovanni Segantini\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MagMuseo\/?fref=ts\" \/>\n<meta property=\"article:modified_time\" content=\"2021-01-17T11:47:51+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MAGMuseoGarda\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/segantiniearco.it\\\/en\\\/about-giovanni-segantini\\\/\",\"url\":\"https:\\\/\\\/segantiniearco.it\\\/en\\\/about-giovanni-segantini\\\/\",\"name\":\"About Giovanni Segantini - 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