Richieste info e prezzo (riceverete la nostra risposta entro 24-48 ore)
(privacy art. 13 D. Lgs. 196/2003) – Privacy

“Iras” Baldessari Roberto Marcello – Flower market in Amsterdam

COD: Q133

60cm x 80cm (dimensions referring to the canvas only) – oil on canvas


Painting depicting the flower market in Amsterdam.

The painter describes a sky at times serene, which is reflected on the motionless surface of the sea; a reversal has recently occurred, as the slabs of the quay, shiny with rain, suggest. Some figures wrapped in heavy colorful clothes are busy around the market; who does some business, who chatters. On the left, a mother holds her baby in her arms while observing the flowers from afar.

The entire painting is wrapped in an ethereal white, which veils the sky, the water, the houses, the profiles of people and boats, giving the typical effect of the air still charged with the humidity of the rain.

The painting is proposed with the original gilded frame, or it is possible to customize it with an antique fir frame.

Roberto Marcello “Iras” Baldessari (Innsbruck, 23 March 1894 – Rome, 22 June 1965) Painter born in Innsbruck, but Rovereto by adoption, he is an artist with a complex career and life: a futurist close to Boccioni but also a traditional painter in other periods of his fluctuating artistic experience.
The first part is figurative, in the early 1900s, when he lives in Venice, to then turn in 1915, when Baldessari in Florence attends the Giubbe Rosse Café and approaches Filippo Tommaso Marinetti, Achille Lega, Dino Campana, Ottone Rosai and others. Especially Boccioni and Rosai were the beacon of his production. Two years later he went to Milan to set up the ‘First Futurist Exhibition’ of Palazzo Cova, in which he participated with 14 paintings. In 1921 he participated in the Futurist Exhibition in Paris. To distinguish himself from the architect Luciano Baldessari, a talented watercolorist at the time, he signed himself from this moment as ‘Iras – Baldessari’.

He then moved on to abstract painting, with clear simplifications of the form to arrive at a later stage in a return to traditional art, especially after his transfer to Germany (from 1934 to 1937) and in the final phase of his career. Venetian and Italian lakes such as Garda and Como are among his favorite subjects.