Pieretto Bianco (attr. a) - interno scenografico
\Artist: Pieretto Bianco (attr. a)
Technique: Tempera\Signature: Hand signed
Painting attributed to Pieretto Bianco. Bortoluzzi Pietro (from circa 1898 known as Pieretto Bianco, not to be confused with his namesake Millo Bortoluzzi, also a painter) . Son of Ferdinand and Francesca Podgornik, he was born in Trieste on the 28th August 1875. He studied at the Venice Academy, worked in Burano with U. Veruda and made his debut in Milan in 1894, presenting a figure painting, ‘Passaggio difficile (o Vecchio suonatore) ’. Since then, with tenacious industriousness he completed his artistic training both in portrait and landscape: in his genre works he painted with fresh harmony the poor suburbs and islands of his adopted city, which interested him in its multiple human and landscape expressions. Later, he felt close to the broad and rhetorical forms of the mural decoration. Technique: tempera on paper applied on canvas. Signed ‘Pieretto’ at the bottom left, followed by the inscription ‘Milano’. At the bottom right is the inscription ‘Coppelia’ and at its right is another word not well decipherable. From a private collection. The signature in capital letters is coeval, as it was analysed with Wood's lamp (ultraviolet rays) .
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\Artist: Pieretto Bianco (attr. a)
Technique: Tempera\Signature: Hand signed
Painting attributed to Pieretto Bianco. Bortoluzzi Pietro (from circa 1898 known as Pieretto Bianco, not to be confused with his namesake Millo Bortoluzzi, also a painter) . Son of Ferdinand and Francesca Podgornik, he was born in Trieste on the 28th August 1875. He studied at the Venice Academy, worked in Burano with U. Veruda and made his debut in Milan in 1894, presenting a figure painting, ‘Passaggio difficile (o Vecchio suonatore) ’. Since then, with tenacious industriousness he completed his artistic training both in portrait and landscape: in his genre works he painted with fresh harmony the poor suburbs and islands of his adopted city, which interested him in its multiple human and landscape expressions. Later, he felt close to the broad and rhetorical forms of the mural decoration. Technique: tempera on paper applied on canvas. Signed ‘Pieretto’ at the bottom left, followed by the inscription ‘Milano’. At the bottom right is the inscription ‘Coppelia’ and at its right is another word not well decipherable. From a private collection. The signature in capital letters is coeval, as it was analysed with Wood's lamp (ultraviolet rays) .
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