Virgilio Guidi Artwork valuations, appraisals and auction estimates

Virgilio Guidi (Rome 1891- Venice 1984) Guidi's painting was originally formed under the guidance of GA Sartorio at the Academy of Fine Arts in Rome and then underwent a certain influence from Spadini, to finally mature in full autonomy starting from reflections on work by Piero della Francesca and Giotto. The acronym that places him in the elite of twentieth-century Italian painting is his personal interpretation of the luminous phenomenon in space. Read the full biography

Virgilio Guidi (Rome 1891- Venice 1984) Guidi's painting was originally formed under the guidance of GA Sartorio at the Academy of Fine Arts in Rome and then underwent a certain influence from Spadini, to finally mature in full autonomy starting from reflections on work by Piero della Francesca and Giotto. The acronym that places him in the elite of twentieth-century Italian painting is his personal interpretation of the luminous phenomenon in space. What has been defined as the poet of light has followed complex but coherent research paths, within a figuration that sometimes reaches the limit of abstraction. Light, form and color are - and will remain - an inseparable trinomial, the only tools suitable for expressing an idea of ​​painting which is essentially the need for a clear mental measure. The artist began to exhibit in 1915 invited to the Roman Secession Exhibition; since then, there has been a succession of participations in the most important artistic events - Biennials of Rome and Venice, Quadrennials of Rome, Unions of Lazio, etc.; in short Guidi established himself as an undisputed protagonist of Italian artistic life. “Mother who rises” (1921), exhibited at the Venice Biennale of 1922, in the solemn reference to Piero della Francesca - recently exalted by Roberto Longhi - already constitutes a sure point of reference for Donghi's developing purism and Trombadori. At the end of the 1920s, called to succeed Ettore Tito in the chair of painting at the Academy of Venice, he abandoned Rome. Particularly significant was the participation in the exhibition "Ten artists of the Italian twentieth century", set up by Margherita Sarfatti at the Amatori e Cultori exhibition of 1927 and the personal room at the II Roman Quadrennial of '35. On this last occasion he formulated some important considerations on painting in a writing.