Tuesday, April 2, 2013

the italian illustrator and his monsters

The work of Domenico Gnoli cast a shadow of particular
inquiry to my view.  After an initial search across the 
world wide web, the avenue emblazoned with his eye.

(b Rome, 3 May 1933; d New York, 17 April 1970)
Italian painter and stage designer. His interest in art was 
encouraged by his father, the art historian Umberto Gnoli, 
and his mother, the painter and ceramicist Annie de Garon, 
but his only training consisted of lessons in drawing and 
printmaking from the Italian painter and printmaker 
Carlo Alberto Petrucci (b 1881).  After holding his first 
one man exhibition in 1950, he studied stage design briefly 
in 1952 at the Accademia di Belle Arti in Rome; 
he enjoyed immediate success in this field, for example 
designing a production of William Shakespeare’s 
As You Like It for the Old Vic Theatre in London in 1955. 
He then began to live part time in New York, where he began 
to work as an illustrator for magazines such as Sports Illustrated. 
During this period he drew inspiration from earlier art, 
especially from master printers such as Jacques Callot 
and Hogarth, from whom he derived his taste for compositions 
enlivened by large numbers of figures stylized to the point 
of caricature.  In other works he emphasized the patterns 
of textiles or walls, boldly succumbing to the seduction of 
manual dexterity and fantasy in a style that was completely 
out of step with the prevailing trends of the 1950s.
biography found here 
you can read a swarm of goodness about him here

In 1962, a fairytale he had written and illustrated was 
published in English as Orestes, or, the Art of Smiling.

L’opera grafica di Domenico Gnoli, which was published 
by Arnoldo Mondadori Editore in 1985.

The below images are of a set of drawings dating from 1968, 
and collectively entitled Bestiario Moderno, or,  
Cos’è un mostro, 
(What is a monster?) 
These particular designs had first been printed in the 1983 
volume about Gnoli published by FMR.