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90:
386:. However, Grzimek also acknowledges that the artistic maturation of the self-taught painter-sculptor essentially took place during his Paris years 1911 to 1914. De Fiori himself self-consciously denied German influences in his sculpture: "On the contrary, the German school was influenced by me and artists like Lehmbruck, Kolbe and
291:, who had spent time in Brazil in the 1930s and 1940s and moved to São Paulo for good in 1946, played an important role in the posthumous promotion of the artist’s oeuvre in Brazil, but also in Italy. Bardi curated a large retrospective for the Hoepli Gallery in 1950 and included works of the artist in the collection of the
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and even participated in the group’s first exhibition in 1926, but subsequently rejected all attempts of appropriation, on one occasion notably at the instigation of his Berlin mentor Alfred
Flechtheim. If Italian influences were decisive for de Fiori's development, they seem difficult to verify,
155:
from 1903 to 1905. The young artist did not pursue his studies very seriously and never obtained a degree. He returned to Rome in 1905 to further develop his painting before embarking on extensive travels that eventually brought him back to
Germany in the late 1900s. Back in Munich a long-term
315:
Throughout his life, Ernesto de Fiori, who considered himself a cosmopolitan
European and was self-taught as a sculptor, denied any affiliations to groups, schools and -isms. On the one hand, as a figurative sculptor, he was very keen not to be taken for a traditionalist, on the other hand he
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treatment of surfaces may have left marks in the „haptic“ nature of de Fiori’s mature work of the 1920s and 30s: Working in clay, de Fiori modeled quickly using only his fingers, commissioned portraits were sometimes finished and ready to cast in a couple of hours.
404:
In the
Italian reception of de Fiori's art, questions of artistic temperament, of origin and affiliation, in particular the question of the oeuvre’s "italianitá", also played an important role. In the mid 1920s, the artist had cautiously approached the
298:
In
Germany, the Georg-Kolbe-Museum in Berlin has taken on the task of preserving the memory of de Fiori as a sculptor since the 1980s. In 1992 the museum mounted a large retrospective accompanied by the publication of an extensive catalogue of works.
401:, whom de Fiori closely associated with in Paris and later in ZĂĽrich and in Berlin, has to be considered more impactful. Characteristically, Haller, just like de Fiori, had initially wanted to become a painter and was an autodidact as a sculptor.
366:
This dual orientation of the sculptor – a tectonic approach on the one hand, and a more spontaneous "haptic" approach on the other hand – is also reflected in the choice of materials in which de Fiori had his works cast: while he preferred
224:
who had already met de Fiori in Paris became aware of the artist's potential, introduced him to Berlin's high society and promoted him for several years as one of the leading artists in his gallery. De Fiori portrayed film divas
284:", several of de Fiori’s artworks were removed from German museums and art galleries. In Brazil he focused on painting and created only a few sculptures. He lived and worked in São Paulo until his death on April 24, 1945.
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the most impactful influence on the artist. According to Kuhn, de Fiori was in search of "the great form", a strictly tectonic sculptural form ideally represented by
Maillol’s work of the time.
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he was suspected of spying for
Germany and briefly imprisoned in France in 1915. In 1915 he returned to Germany, took German citizenship and was a soldier until 1917.
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187:. De Fiori temporarily quit painting and became a sculptor. His works were first exhibited in 1912 at the "International Art Exhibition of the Sonderbund" in
277:
In Brazil, de Fiori as an artist of
European modernism immediately received great attention. He also wrote articles for Italian and German émigré magazines.
592:
Delphin-Verlag, MĂĽnchen 1922. (German language publication on 19th and 20th century sculpture in Europe, chapter on
Maillol and de Fiori pp. 89–105)
862:
857:
556:. Dietrich Reimer Verlag, Berlin 1992, ISBN 3-496-01091-6 (Catalogue Raisonnée of de Fiori's oeuvre as a sculptor, text in German language)
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R.-Löwit-Verlag, Wiesbaden, 1969. (German language publication on 20th century sculpture in
Germany, chapter on de Fiori pp. 135–142)
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825:
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397:, an elder by a few years, however, the imparting of practical knowledge through long-time studio colleague and artistic companion
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in 1917 and lived there until 1920. In 1921 he moved to Berlin and together with Swiss sculptors Hermann Haller and
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and associated with the German speaking artists and intellectuals living there and gathering in the legendary
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Curadoria Mayra Laudanna. Sao Paulo: Pinacoteca do Estado 1997 (Exhibition catalogue in Portuguese language)
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descent. A dazzling personality himself, he rose to fame as a society portraitist and a major protagonist of
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However, the artist was still tolerated in Germany at the time and took part, for the second time after the
89:
390:." Two of the three artists mentioned here had been living in Paris before the war broke out in 1914.
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In 1936 he traveled to Brazil to pay a visit to family members living there. He portrayed Italian poet
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Ernesto de Fiori rose to fame as a sculptural portraitist in Berlin. Renowned Jewish gallery owner
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to cast full-figure works, the much less filigree busts and heads were for the most part cast in
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Ulrico Hoepli editore, Milano 1950 (Catalogue of a retrospective, text in Italian language)
335:, a German art historian who analyzed De Fiori’s development as early as 1922, considered
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382:, de Fiori's sculptural oeuvre is also rooted in the German tradition represented by
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and his wife Thea who admired and supported the young artist in his formative years.
767:"Ernesto de Fiori, l'"italianitá" di uno scultore berlinese di adozione (1884-1945)"
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Indeed, de Fiori’s early works show a stylistic relationship with the work of
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100:(12 December 1884 – 24 April 1945) was a German painter and sculptor of
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However, French influences seem particularly strong in the artist’s oeuvre.
619:. Berlin: Dietrich Reimer Verlag und Georg-Kolbe-Museum. pp. 173–180.
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Deutsche Bildhauer des Zwanzigsten Jahrhunderts. Leben, Schulen, Wirkungen.
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820:. Berlin: Dietrich Reimer Verlag und Georg-Kolbe-Museum. pp. 70–75.
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Deutsche Bildhauer des Zwanzigsten Jahrhunderts. Leben Schulen Wirkungen
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Deutsche Bildhauer des Zwanzigsten Jahrhunderts. Leben Schulen Wirkungen
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188:
105:
795:. Berlin: Dietrich Reimer Verlag und Georg-Kolbe-Museum. p. 182.
729:. Berlin: Dietrich Reimer Verlag und Georg-Kolbe-Museum. p. 101.
754:. Wiesbaden: R.-Löwit-Verlag. pp. 135–142 (chapter on de Fiori).
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In Paris, during his formative years 1911 to 1914, de Fiori studied
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Ernesto de Fiori. Uma Retrospectiva: pintura, desenho e escultura.
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144:) who worked as a correspondent for a Viennese newspaper in Rome.
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with its completely different character in terms of materiality.
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in the early 1930s and was forced to emigrate after the Nazi's "
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44:
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since the artist never stayed long in Italy in his adult life.
433:, 1912 (whereabouts unknown, formerly Collection Flechtheim)
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When Flechtheim was exposed to the racist agitation of the
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De Fiori, Ernesto (10 October 1918). "Von "Neuer Kunst"".
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to an Austrian mother and an ethnic Italian father from
93:"Portrait of a Young Woman", 1929 (whereabouts unknown)
151:to study painting at the Academy of Fine Arts with
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52:
30:
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554:Ernesto de Fiori. Das plastische Werk 1911-1936.
163:From 1911 to 1914, de Fiori lived and worked in
818:Ernesto de Fiori. Das plastische Werk 1911-1936
793:Ernesto de Fiori. Das plastische Werk 1911-1936
727:Ernesto de Fiori. Das plastische Werk 1911-1936
617:Ernesto de Fiori. Das plastische Werk 1911-1936
590:Die neuere Plastik. Von 1800 bis zur Gegenwart.
378:According to German sculptor and art historian
697:Die neuere Plastik. Von 1800 bis zur Gegenwart
120:" by the Nazis in 1937, de Fiori emigrated to
765:D'Ayala Valva, Margherita (1 February 2007).
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608:
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274:and persuaded de Fiori to follow him there.
699:. München: Delphin-Verlag. pp. 89–105.
465:, 1926 (Wilhelm-Lehmbruck-Museum, Duisburg)
714:. Wiesbaden: R.-Löwit-Verlag. p. 135.
252:", de Fiori's star also began to decline.
20:
873:Olympic competitors in art competitions
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354:as well as younger contemporaries like
295:of which he was the Founding Director.
490:, around 1928 (Landesmuseum Oldenburg)
116:. One of the many artists defamed as "
213:, who had died two years previously.
147:De Fiori grew up in Rome and went to
7:
471:, 1924 (Georg-Kolbe-Museum, Berlin)
280:In 1937, during the Nazi campaign "
209:moved into the abandoned studio of
507:Bildnis Reichspräsident Hindenburg
14:
259:, at the art competition at the
156:friendship developed with writer
863:20th-century German male artists
669:. Milano: Ulrico Hoepli editore.
509:, 1928 (Kunstmuseum DĂĽsseldorf)
171:, among others Swiss sculptor
112:'s vivid art scene during the
1:
858:20th-century German sculptors
816:Vierneisel, Beatrice (1992).
791:Vierneisel, Beatrice (1992).
725:Vierneisel, Beatrice (1992).
615:Vierneisel, Beatrice (1992).
132:Ernesto de Fiori was born in
665:Bardi, Pietro Maria (1950).
427:, 1911 (Kunsthalle Mannheim)
439:, 1914 (private collection)
311:"JĂĽngling (Nijinski)", 1914
894:
750:Grzimek, Waldemar (1969).
710:Grzimec, Waldemar (1969).
216:During Berlin's so called
482:Austrian National Gallery
540:SĂŁo Paulo Museum of Art
520:National Gallery Berlin
501:National Gallery Berlin
293:SĂŁo Paulo Museum of Art
124:where he died in 1945.
312:
94:
868:German male sculptors
695:Kuhn, Alfred (1922).
552:Beatrice Vierneisel:
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684:(in German). ZĂĽrich.
682:Neue ZĂĽrcher Zeitung
457:Hamburger Kunsthalle
384:Adolf von Hildebrand
316:polemicized against
303:Influences and style
261:1936 Summer Olympics
257:1928 Summer Olympics
530:Berlinische Galerie
447:Berlinische Galerie
437:JĂĽngling (Nijinski)
246:National Socialists
241:among many others.
239:Paul von Hindenburg
641:"Ernesto de Fiori"
560:Pietro Maria Bardi
407:Novecento Italiano
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289:Pietro Maria Bardi
268:Giuseppe Ungaretti
250:seizure of control
237:and field marshal
233:, boxing champion
201:De Fiori moved to
175:, German painters
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878:Artists from Rome
564:Ernesto de Fiori.
322:abstract painting
222:Alfred Flechtheim
185:Wilhelm Lehmbruck
153:Gabriel von Hackl
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515:Marlene Dietrich
380:Waldemar Grzimek
337:Aristide Maillol
287:Italian curator
231:Marlene Dietrich
98:Ernesto de Fiori
75:German, Austrian
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41:12 December 1884
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181:Heinrich Ehmsen
142:Austria-Hungary
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114:Weimar Republic
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173:Hermann Haller
158:Carl Sternheim
140:(then part of
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324:and rejected
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169:Café du Dôme
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58:(1945-04-24)
18:
853:1945 deaths
848:1884 births
586:Alfred Kuhn
469:Engländerin
395:Georg Kolbe
333:Alfred Kuhn
227:Greta Garbo
194:During the
72:Nationality
842:Categories
597:References
547:Literature
494:Der Boxer
488:Junge Frau
419:Sculptures
358:. Rodin’s
177:Karl Hofer
118:degenerate
80:Occupation
37:1884-12-12
645:Olympedia
484:, Vienna)
272:SĂŁo Paulo
207:Fritz Huf
64:SĂŁo Paulo
538:, 1945 (
528:, 1933 (
518:, 1931 (
513:Bildnis
499:, 1928 (
480:, 1925 (
475:Bildnis
455:, 1918 (
445:, 1917 (
425:JĂĽngling
388:Sintenis
356:Brancusi
106:Austrian
83:Sculptor
66:, Brazil
776:21 July
650:30 July
443:Badende
348:Despiau
344:Maillol
318:Dadaism
189:Cologne
102:Italian
47:, Italy
824:
799:
733:
623:
431:Ursula
373:stucco
369:bronze
203:ZĂĽrich
149:Munich
138:Istria
122:Brazil
110:Berlin
414:Works
352:Rodin
165:Paris
822:ISBN
797:ISBN
778:2022
731:ISBN
652:2020
621:ISBN
453:Mann
350:and
320:and
229:and
179:and
134:Rome
128:Life
104:and
53:Died
45:Rome
31:Born
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