Carlo Passigli emerges from historical records as an Italian artist, recognized for his contributions primarily as a painter, though sources also mention sculpture. His work often engaged with the natural world and scenes of everyday life, situating him within the broader currents of Italian art during his active period. Understanding his career involves piecing together information from exhibition records, auction data, and brief mentions in art historical literature.
While his artistic output provides tangible evidence of his practice, establishing a definitive biography faces some challenges due to inconsistencies in the available data. Nevertheless, his Italian nationality is consistently noted, and his works connect him firmly to the artistic landscape of Italy.
Biographical Details and Identity
Pinpointing the precise biographical details of Carlo Passigli requires careful consideration of conflicting information found in various sources. One source document associates the name Carlo Passigli with the dates 1881-1953 and connects him to studies of Italian literary Naturalism, mentioning unpublished documents and manuscripts within the context of the Gabinetto Vieusseux historical archive. This source also links him with scholars like Ugo Bertini and Ferdinand Donzelli.
However, other art-specific records present a timeline that seems somewhat at odds with these dates. Notably, one of his representative paintings, ALL'APERTO, is documented as having been created in 1968. Furthermore, his works have appeared in exhibitions and auctions dated as recently as the 2020s. This suggests an artistic career potentially extending later into the 20th century than the 1953 date would allow, or perhaps indicates the existence of multiple individuals named Carlo Passigli active in different fields or periods.
It is also crucial to distinguish the artist Carlo Passigli from Carlo Passaglia (1812-1887), a prominent Italian theologian and philosopher associated with the Jesuit order. The difference in spelling and the vastly different life dates and professional fields clearly indicate these are two distinct historical figures.
Therefore, the focus of this overview is the visual artist Carlo Passigli, whose tangible works and exhibition history place him within the 20th-century Italian art scene. While references connect a Carlo Passigli to literary and historical studies, including work on Lazio wetlands mentioned in the Rivista Italiana di Onomastica and mentions in publications like Literature as an Interpretative Method for Socio-Political Scenarios, it remains somewhat ambiguous whether these refer solely to the artist or potentially to the literary figure dated 1881-1953. The primary evidence for the artist remains his artwork and its documented circulation.
Artistic Style and Themes
Carlo Passigli's artistic output is primarily associated with Naturalism. His approach involved depicting subjects, particularly landscapes, with a degree of fidelity to their appearance in the natural world. This aligns with broader trends in Italian art that emphasized realistic representation and often focused on local scenery and daily life.
A recurring motif in Passigli's known work is water. His engagement with marine environments and waterscapes is evident. This focus was significant enough for his work to be included in a specialized exhibition titled "Painting on Water" held in Lipari. Such thematic concentration suggests a deep artistic interest in capturing the qualities of water, light, and atmosphere associated with coastal and marine settings.
Beyond pure landscapes, Passigli also seems to have depicted scenes of everyday life. The title Bimbi al mare (Children at the Sea), mentioned in relation to his work, suggests an interest in capturing candid moments of leisure and human activity within natural settings. One source places such scenes within the context of the 1920s-30s, adding another layer to the chronological puzzle of his career but reinforcing his connection to relatable, observed moments. His style likely aimed for a direct, unidealized portrayal of these scenes.
Representative Works
Several specific works help illustrate Carlo Passigli's artistic practice:
Figura in spiaggia (Figure on the Beach): This title is mentioned in the context of the Lipari exhibition, reinforcing his focus on coastal themes and human presence within those landscapes. The medium is noted as oil painting and drawing, indicating his versatility.
ALL'APERTO (Outdoors / In the Open): This work appears multiple times in records, suggesting it might be a significant piece or title he revisited. One source describes it as an oil on board measuring 26 x 100 cm. Another auction context lists a work of the same title, also oil on board, but sized 26 x 37.5 cm, with a price estimate of €600 to €1000. Crucially, one record dates the creation of ALL'APERTO to 1968, providing a firm point in his later career.
Bimbi al mare (Children at the Sea): As mentioned earlier, this title points towards genre scenes depicting everyday life, specifically children by the sea. It reflects an interest in capturing moments of innocence and leisure, potentially situated, according to one source, in the social milieu of the 1920s or 1930s.
MARINA BARCHI CON MARCO (Seascape with Boats and Marco?): This oil painting, sized 30 x 48 cm, further exemplifies his focus on marine subjects. It appeared in auction records with an estimated value of €500 to €800, indicating its circulation in the art market. The title suggests a typical seascape possibly featuring figures or specific named boats.
These works collectively paint a picture of an artist engaged with Italian landscapes, coastal life, and the naturalistic depiction of his surroundings. The variations in size and detail for works like ALL'APERTO highlight the need for further research to clarify his oeuvre fully.
Exhibitions and Recognition
Carlo Passigli's work gained visibility through participation in various exhibitions, primarily in Italy. These events placed his art in dialogue with that of his contemporaries and exposed it to collectors and the public.
A significant recent mention is the "Painting on Water" exhibition held in Lipari in 2021 (or referenced in 2022). This thematic show focused on artistic interpretations of water, featuring Passigli alongside other artists known for their engagement with marine subjects. His inclusion underscores his reputation in this specific genre.
Historical records also place his work at the Galleria Pananti Casa d'arte in Florence. One reference points to an exhibition titled "Dal 1908" held there in 1968, which included Passigli's work. Other sources mention his paintings appearing in auctions hosted by Pananti in 2022, featuring works from the 19th and 20th centuries. This suggests an ongoing relationship with the gallery or at least the circulation of his work through this prominent Florentine institution.
Beyond galleries and exhibitions, Passigli's name appears in scholarly contexts. As noted, he is mentioned in literature concerning Italian Naturalism (1800-1900), specifically within the context of the Gabinetto Vieusseux archive. While this potentially links to the figure dated 1881-1953, it nonetheless places the name Passigli within discussions of this important artistic and literary movement. His name also surfaces in specialized publications related to regional studies (Lazio wetlands) and socio-political interpretation through literature, though the precise connection to the visual artist requires clarification.
Contemporaries and Context
The art world of Carlo Passigli's time involved interaction, direct or indirect, with numerous other artists. Exhibition and auction records provide clues about the artistic milieu in which he operated.
The "Painting on Water" exhibition in Lipari saw Passigli's work displayed alongside paintings by artists such as Giorgio Belli, Plinio Nomellini, Mosè Bianchi, Carla Ce[...] (potentially Carla Celesia di Vegliasco, though the name is partially obscured in the source), and Cosimo De Concili. This grouping highlights a shared interest in marine themes among these artists. Nomellini and Bianchi, in particular, were significant figures in late 19th and early 20th-century Italian painting.
Auction records from Galleria Pananti place Passigli's works in catalogues alongside prominent artists spanning the 19th and 20th centuries. Notably, he was featured in sales that also included works by the celebrated sculptor and painter Vincenzo Gemito, as well as painters like Attilio Toro and Renato Natali. Gemito was a major figure in Neapolitan realism, while Natali was known for his depictions of Livorno.
This co-exhibition, whether in curated shows or auction settings, suggests Passigli was considered part of the broader narrative of modern Italian art. While the sources don't detail specific collaborative projects or direct rivalries, sharing exhibition space and appearing in the same auctions inherently creates a context of comparison and places artists within a field of contemporaries vying for critical attention and market recognition. Passigli, therefore, navigated an art scene populated by these and many other figures contributing to Italy's diverse artistic landscape.
Art Market Presence
Carlo Passigli's paintings maintain a presence in the contemporary art market, primarily within Italy, as evidenced by auction records. His works appear periodically, suggesting a degree of collectability and sustained interest.
Auction results provide insight into his market value. For instance, a work by Passigli was estimated at €900 to €1300 in a 2024 auction context. Specific works have appeared with estimates reflecting their size and potential appeal; as mentioned, ALL'APERTO (in its 26x37.5 cm version) was estimated between €600 and €1000, while MARINA BARCHI CON MARCO carried an estimate of €500 to €800.
These figures suggest a consistent, though perhaps not top-tier, valuation within the Italian art market for 20th-century painters. His work appears accessible to collectors of modern Italian art. The regular appearance of his works, particularly in Florentine auction houses like Pananti, indicates that his paintings circulate among dealers and collectors primarily within his home country. The distribution seems concentrated in Italy, based on the locations of the documented exhibitions and sales.
Anecdotes and Controversies
Despite his documented artistic activity and presence in exhibitions and the art market, the available sources consulted for this overview do not reveal specific anecdotes, personal stories, or notable controversies involving the artist Carlo Passigli. His record appears focused on his professional output – his paintings and sculptures, their exhibition, and their sale.
There is no information in the provided context to suggest his artistic style or choice of subject matter ever generated significant public debate or critical controversy. Similarly, there is no mention of his participation in contentious art projects or exhibitions that might have drawn unusual attention. His public record, as presented in these sources, is one of a working artist contributing to the Italian Naturalist tradition. The primary point of discussion remains the clarification of his precise biographical dates and the full scope of his activities, rather than any documented personal incidents or artistic disputes.
Conclusion
In summary, Carlo Passigli is documented as an Italian artist, active primarily as a painter during the 20th century, with connections to the Naturalist tradition. His work frequently explored landscapes, particularly marine and coastal scenes, as well as moments of everyday life. Representative works like ALL'APERTO, Figura in spiaggia, and MARINA BARCHI CON MARCO highlight his thematic interests and style.
He participated in notable exhibitions, including thematic shows like "Painting on Water" in Lipari and appeared in catalogues of established galleries such as Pananti Casa d'arte in Florence. His work continues to circulate in the Italian art market, achieving consistent valuations at auction. He exhibited alongside and was sold in the company of significant figures in modern Italian art, including Plinio Nomellini, Mosè Bianchi, and Vincenzo Gemito.
While his artistic contributions are evident, unresolved questions remain regarding his precise life dates, with source materials presenting conflicting information (1881-1953 vs. evidence of activity in 1968 and later). Further research would be needed to fully reconcile these discrepancies and potentially distinguish between the visual artist and other individuals named Carlo Passigli active in literary or academic fields. Nonetheless, Carlo Passigli the artist holds a place within the narrative of 20th-century Italian painting, recognized for his dedication to naturalistic representation and his focus on the landscapes and life of his country.
