Great Painting “ Flores” signed by Bruno CroattoWork by Trieste painter Bruno Croatto ( 1875 –1948 ) which embodied his passion for style lifeArtist: Bruno Croatto (1875-1948)Title: "Flowers"Year: circa 1930Technique: oil painting / on boardCondition: ExcellentUnframed dimensions: 12 "1/2 (32 cm) x 11" 3/8 (29 cm)Signature: Bruno Croatto CROATTO , Bruno . - Born in Trieste on April 7th 1875 from Lodovico and from Pia Garghetta, the second of five children, he had his first artistic training in his hometown as a pupil of G. Garzolini. At sixteen he went to Munich to take a two-year course taught by painter G. Hackl. Returning to Italy, he participated in the II International Art Exhibition (Biennale) in Venice in 1897 ( L'eletta: p. 159 of the catalog);he will then be present at these events from 1912 to 1924. In 1908, the year of his stay in Orvieto, he began to devote himself to engraving techniques (etching and aquatint), an activity in which he distinguished himself in a particular way. He settled permanently in Rome in 1925 with his wife Igea Finzi, continuing to travel and exhibit: in the same Rome held personal exhibitions in 1930 at the Camerata degli artisti (see the catalog of R. Strinati); in 1937, 1938, 1939, 1942 at Barcaccia (see the Catalans and Emporium , XXV [1942], p.127, Il Messaggero , 12 November 1942), where a retrospective was held in 1949 (see Il Momento , 9 March 1949); he also exhibited in Trieste (see bibl.) and in many European cities, including Paris (1929, at the gall Reitlinger: see catal.), Prague (1931, at the Krassoumna Jednata: see critical notes on the exhibition of B . C . in Prague , Rome 1932), Athens ( Exposure ital . black and white decorative arts ..., Athens 1938, p. 141, enthusiastically received by the critics and the public, especially with respect to graphic production and to portraiture.The C. died in Rome on 4 September. 1948.The monastic formation, to which the artists known by C. in the Trieste area, such as Veruda and Rietti, were not unknown, led him to develop an impressionistic painting of German matrix, with a flawed and strongly contrasted brushstroke. Always with these pictorial ways, in the period between 1920 and 1923, he painted paintings of a particularly evocative biblical subject. Later he turned to the genre of still life, taking inspiration from 17th century Dutch painting and, after 1931, towards the genre of portraiture, referring to the Italian Quattrocento and in particular to Antonello da Messina. As part of the rich graphic activity, it is worth mentioning the collection of Sicilianlandscapes etchings (see Il Piccolo [Trieste], 2 Jan. 1925), characterized by the delicacy of the sign and the immediacy of the image.Particular attention has always been paid to C. by the critic about the personal exhibitions in Rome and Trieste, held, regularly, from the twenties to his death. His "realism" has been highlighted by his attachment to reality, sometimes for some "too objective", the point of arrival of a slow evolution, but meditated through frequent travels and the study of Italian Renaissance painting, which led him to "a sort of modern pictorial classicism" (Firmiani, 1976). The clarity of the sign, the clarity of the colors, the plastic strength of the objects induces C. to express a pure and refined naturalism, a meticulous attention to the real data. The sense of finiteness, alive in the bodily evidence of brightly colored, almost enamelled figures, characterizes the latest works and demonstrates an artistic evolution that takes place in the maturation of his feeling.Works of the C. are conserved in numerous public and private collections in Europe and America, including in Italy the Revoltella Civic Museum in Trieste, the National Gallery of Modern Art in Rome and the Modern Art Gallery in Milan.

Very good condition Provenance available upon request. Private Collection.