Fyodor А. Lobodanov

The article is first to consider the influence that G. De Chirico's works of the early period (1910s-1920s) and his 'metaphysical painting' produced on Italian artist Antonio Bueno. The author highlights that the impact produced on young Bueno, searching for his own artistic manner, by the stylistics of this well-recognized leader of the avant-garde 'metaphysical painting' trend was ambiguous. The author exploits a comprehensive interdisciplinary approach to evaluate the way De Chirico's works contributed to Bueno's search for a 'modern style' of painting. The materials of the research are Bueno's diary-memoirs and the studies devoted to his works. It is concluded that only some features typical of early works by De Chirico and his 'metaphysical painting' manner were acquired by Bueno. However, they are concluded to contribute significantly to the development of Bueno's individual stylistic manner. Moreover, these 'borrowed' features are considered most distinguished and stably occurring. In fact, these are the features that shaped his works, in particular those having earned him national and international recognition.

For the first time in Russian art criticism, this article examines the history of the creation and exhibition activities of the association of Italian painters “Modern Artists of Reality” (1947–1949), identifies the most striking features of their painting practice, and defines the creative individuality and identity of each participant in this group. The article analyses the Manifesto of the “Modern Artists of Reality” movement and its basic provisions, which allow us to determine the goals and motivations behind the association’ formation. It traces individual trajectories of each group member in adhering to the principles of the Manifesto, as well as their subsequent artistic careers as ‘artists of Reality’. Both movement-related documents and their artworks were used as materials for the study. The author employs a comprehensive interdisciplinary approach to outline the creative methods of the association’s participants. The conclusion addresses the reasons for the association’s dissolution and assesses the contribution of the ‘artists of Reality’ made to post-war Italian visual art. Moreover, the article discusses the contemporary demand for their artistic heritage and its actual reception in the early 21st-century art world.