Autographs by Omiccioli

This Lot of Autographs by the Italian artist Giovanni Omiccioli to Silvio Perina , the director of the CIM warehouses in Rome, includes 3  items, written around 1953, in Italian   : 

• Autograph Letter Signed.  February 27th 1953. One page, single-sided. Including original envelope.
• Autograph Letter Signed. Not dated.
• Autograph Card Signed. In pencil

The first autograph dated is a touching letter written after the Omiccioli' father's death. The other two are a leter and a card concerning exhibitions organized by Silvio Perina.

Giovanni Omiccioli (Rome, 1901-1975) is one of the representatives artist of the Roman School, the most popular and loved, especially by the Romans because of the subjects of his artworks : "football matches". Omiccioli became a symbolic painter of Via Margutta.

He is a close friend of Mafai and Antonietta Raphael, often working with Scipione and Raffaele Frumenti, and he gets his first personal exhibition at the Galleria Apollo in Rome in '38 . He often goes to the Osteria Fratelli Menghi, known as a meeting point for painters, directors, screenwriters, Writers and poets between the '40s and' 70s. He is also very active politically, with Mario Mafai, Guttuso and Afro. He realized the first head of L'Unità in 1945, shortly after the Liberation. In the same year he participated in the "I Mostra dell'Arte contro le barbarie", promoted by the communist daily newspaper at the Galleria di Roma and presented in the catalog by Antonello Trombadori, with a work of strong political commitment (Bruno Buozzi's Shooting). In 1950 he rented a studio at Via Margutta 51, held an exhibition in Rome at the art studio of Palma and encouraged Corrado Alvaro, just before moving for two years to the mountains of Sila, in Calabria.

The Background: 

In those years, Omiccioli was an affirmed artist and participant in collective exhibition in Pittsburg, Boston, Tokyo, also exhibiting at the traveling exhibition in the Scandinavian countries organized by the Art Club, the Roman Quadriennali of 1955, 1959 and later in 1966 and at the Venetian Biennial of 1952 , 1954, 1956. The letter in which he borrowed two works to Mr. Perina, probably dates back to '54, he was exhibiting at the La Tartaruga Gallery in Rome and at the palace of the Province of Catanzaro, began to represent the desolation of Litoral littoral, between Torvaianica and Passoscuro, a theme still present until its last years