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拍品專文
Painted in 1914, La sposa (The Bride) is an early and important work from the first period of Magnelli'’s maturity as an artist. Having come into contact with the Parisian avant-garde and in particular the developments of Cubism through Apollinaire'’s Les Peintres cubistes: Méditations esthétiques, Magnelli travelled to Paris for the first time in March 1914 to join his friends Soffici, Papini and Carrá. While in Paris Magnelli met Picasso, Matisse, Léger and Apollinaire who began a close friendship with the artist. Particularly impressed with Magnelli'’s bold use of oloou t was Apollinare who encouraged the Italian to develop his art towards a pure form of painting.
Magnelli and Apollinaire stayed in contact long after Magnelli'’s return to Italy later in the year. La sposa is one of the first of Magnelli'’s works to reflect the new influences he had discovered in Paris and perhaps the first to demonstrate his assimilation of these ideas into a new and unique Cubistic style. Clearly reflecting the work of both Matisse and Picasso, Magnelli combines these influences in this work with his own unique sense of colour and an innate simplicity, which, to some degree, echoes the naïve painting and folk art that were also currently in vogue at this time.
Magnelli and Apollinaire stayed in contact long after Magnelli'’s return to Italy later in the year. La sposa is one of the first of Magnelli'’s works to reflect the new influences he had discovered in Paris and perhaps the first to demonstrate his assimilation of these ideas into a new and unique Cubistic style. Clearly reflecting the work of both Matisse and Picasso, Magnelli combines these influences in this work with his own unique sense of colour and an innate simplicity, which, to some degree, echoes the naïve painting and folk art that were also currently in vogue at this time.