Max by Giovannetti, animated !


Luigi Pericle, return to the world of a lost artist

Luigi Pericle, return to the world of a lost artist

Luigi Pericle Giovannetti, the forgotten talented mystical painter

Ascona’s return to the world of a lost artist

It’s a late summer afternoon when a phone call comes in the form that has the flavor of a signaling. Go to Ascona, a collection of art has disappeared for decades, a corpus of works by Luigi Pericle Giovannetti, a real treasure that reappears just now. Initially, there is some skepticism: is it really a treasure? And how does the author’s name, Luigi Pericle Giovannetti, tell me absolutely nothing? The appointment at Ascona, on the slopes of Monte Verità, is with Andrea and Greta Biasca-Caroni, they are the owners of the paintings, and begin to tell a story that has incredible and I will try to tell here. Last year, the couple bought a two-storey cottage, where no-one has been stuck for fifteen years. There was a painter who left off in 2001 without leaving heirs, and the house remained as he left it. After the first inspections, the couple realize that they have something in their hands: in the abandoned rooms, among the dusty furnishings, on the shelves of the bookstores, the world of a forgotten artist, paintings, letters and photographs of Luigi Pericle Giovannetti begins to emerge, a painter who for many different reasons today says very little, but who deserves great attention to the intensity of his life and work.


The first inventory speaks of 150 oils and thousands of cardboard, all in good condition. The Biasca-Caroni are curious people and start doing the first research. In the village there are those who have a distant memory of Giovannetti, who led a secluded life, occasionally styled astral profiles and wrote science fiction novels. Among his students, a young Ingeborg Lüscher, Harald Szeemann’s future wife, tells how Giovannetti, who emanated an aura of knowledge, was kind, friendly but always a little distant. This testimony, published on the site, only helps us partially to outline the figure of a painter who is difficult to frame in today’s canons, so highly rated to individual specializations. Who was really Giovannetti ? An artist? A philosopher? A mystic? Or all these things together? Andrea and Greta Biasca-Caroni show me the results of their research, and it’s like a big puzzle that is made up under our eyes. Of the family’s origins and the childhood of the artist is still very little, a biographical biographical profile, published on a catalog of the sixties, says it born in the Marche and raised in Basel; he studied art but soon abandoned because he disobeyed school discipline. He has a good hand and finds work by doing the illustrator. Between the end of the 1940s and the following decade he collaborated with important satirical newspapers specializing in the design of animals, including a round and sympathetic marmot, called Max, which at the time was successful. Signing with the last name, Giovannetti, but probably all this is not enough. In 1958, he destroyed the figurative painting work of thirty years, which he never exposed and in which he no longer recognizes, to try new researches. He adopts abstractism, updated on what is happening in Europe in the field of informal art and decides to be known only by the name of “Luigi Pericle”. The turn of the year is 1959, when the Maecenas Peter G. Staechelin begins to become interested in his work: it is the beginning of a partnership that will allow the artist to work with greater tranquility and the collector to acquire a hundred of his works. Staechelin has an important name in the world of Swiss art: Rudolf Staechelin, Peter’s father, boasts a collection of treasures including works by Van Gogh, Monet, Cézanne, Picasso and Gauguin. The next decade is full of promising meetings: Hans Hess, the York Festival Maker and York Museum Manager, discovers his work and decides to make it known in England. Luigi Pericle’s first exhibition is at Tooth Gallery in London, followed by other exhibitions, always on English soil. He also knows Herbert Read, poet and historian of British art, expert in surrealism and personal counselor of Peggy Guggenheim. Read is not a stranger to Ascona, because he attends Eranos seminars: he is impressed by the painter, who admires the technical skills and the beauty of his works, influenced in his opinion by Oriental spirituality.

In the mid-1960s, ours is an artist who has a bright path, with the support of important figures but … something breaks: Luigi Pericle decides to retire and not expose more, perhaps because of the need for spirituality, or the desire to abandon one world that does not match with him.

Greta and Andrea Biasca-Caroni show me the works of Luigi Pericle found in her home. The paintings speak of an artist who looks at tachisme and neocube, which prefers an essential language and has a small palette to a few tones. Forms are controlled, geometric structures, there seems to be too much room for improvisation. Different flavors, are very free, beautiful and expressive the cards, from which we can infer his interest in the East. Times now seem ripe for a thorough research on the artist, which outlined his biography and allowed him to study the work. I have the impression that we will hear about Luigi Pericle again.

The mysterious rebel who retired at the threshold of success

Ever-celebrated for his marmot Max The painter chose to isolate himself in the villa in Ascona on Verbano lake. The biography of Luigi Pericle Giovannetti is still to be written. It is known that the artist was born in Monterubbiano, a small village in the province of Fermo, in the Marche region, in 1916 by an Italian father and a French mother, and at a young age, presumably with his family, emigrates to Basel. Early talent as a child begins to be interested in painting, enrolled in a school of art but soon shows some dissatisfaction with classical teaching methods and looks for new ways. He is interested in Oriental philosophies and studies ancient Greek, Egyptian and Chinese civilizations, where she finds inspiration for his art. In the 1950s he devoted himself to the illustration, starting to collaborate with some satirical magazines, such as the Swiss Nebelspalter and the English Punch, for which he invented the Max marmot, which was first published in 1952 and which has undergone a great success. It destroys all of its production from the thirties and forties, but continues to dedicate itself to painting, drawing on colors alone, as did the ancient masters, and also using Chinese special resins and inks. In 1959 he became acquainted with the Swiss collector Peter G. Staechelin, who became his patron and gained an important number of works since then (still today in the Staechelin Collection there are a hundred paintings made by Luigi Pericle Giovannetti). To make him work in great tranquility, Staechelin acquires for Giovannetti and his wife Ursula the Casa Halla (which in Spanish means “discovery”) at the slopes of Monte Verità in Ascona. Under the name of “Luigi Pericle”, between 1962 and 1965 he exhibited several times in England, at the Tooth Gallery in London, contemporary art gallery specializing in some of the great names of European abstractism and informalism, such as Karel Appel, Antonio Saura, Jean Dubuffet, Corneille and Asger Jorn. He exhibited in the national museums of York, Cardiff, Newcastle, Leicester, Hull and Bristol Many of his works end up in British and American private collections such as the one of the daughter of the prime minister of England Alec Douglas Home or Lady Tate (Tate Gallery, London). Still in 1965 he received in Ascona the visit of Herbert Read, former curator of the Victoria and Albert Museum in London, Harvard professor and personal adviser to Peggy Guggenheim. A meeting that could really change the artist’s life if it did not make a decision that still remains inexplicable today. For reasons that are unknown to us, Luigi Pericle retires from the scenes and the center of his world becomes Ascona’s home, where he continues to paint until the 1980s, devoting himself to meditation, research and writing, and maintaining however, epistolar contacts with scholars and intellectuals all over the world. In 2001 he died without heirs in Ascona and his house remained closed for fifteen years.

Courier of Ticino 21/10/2017

****************************************** *************************************

Thank you very much to :

Raffaella Castagnola Rossini who first understood the importance of this discovery.

Raffaella Castagnola, Director of the Culture and Studies Division of Canton Ticino.

Fabio Pontiggia, director of the Ticino Corriere who personally verified.

Simona Ostinelli who has made this wonderful article. Simona is an art historian and cultural journalist.



Best regards from Greta e Andrea Biasca-Caroni, +41 79 621 23 43 .


Luigi Pericle Exhibitions 1965

Luigi Pericle Exhibitions 1965

LUIGI PERICLE is not knows today because he decided to disappear and never expose more but :

1965 was the year of the triumph for Luigi Pericle with a 6 museums tourné in England under the direction of Hans Hess :

York City art Gallery :

York Art Gallery

From Wikipedia, the free encyclopedia
York Art Gallery
York Art Gallery.jpg

York Art Gallery and statue of William Etty
Established 1882
Location YorkUnited Kingdom
Coordinates 53.962873°N 1.086278°WCoordinates53.962873°N 1.086278°W
Type Art museum
Key holdings British Studio Pottery, Views of York, William Etty
Collections Western European paintings, British paintings, prints, watercolours, drawings, ceramics
Curator Laura Turner
Owner York Museums Trust

Portrait of Giovanni Battista Agucchiby his friend Domenichino, 1615–1620

York Art Gallery in YorkEngland is a public art gallery with a collection of paintings from 14th-century to contemporary, prints, watercolours, drawings, and ceramics. It closed for major redevelopment in 2013, reopening in summer of 2015. It is managed by York Museums Trust.


The gallery was created to provide a permanent building as the core space for the second Yorkshire Fine Art and Industrial Exhibition of 1879, the first in 1866 occupied a temporary chalet in the grounds of Bootham Asylum. Following the 1879 exhibition the renamed Yorkshire Fine Art and Industrial Institution aimed to create a permanent art exhibition. It was given a major boost by the bequest of York collector John Burton (1799–1882) of more than one hundred 19th-century paintings, supplemented by gifts and in the early years two major temporary loan collections. In 1888 the north galleries were leased to York School of Art, which moved there in 1890 from Minster Yard.[1][2]

York City Council purchased the buildings and collection in 1892. Temporary summer exhibitions ceased in 1903 but a major exhibition of the work of York artist William Etty was held in 1911 when his statue by local sculptor George Walker Milburn was erected outside. The period up to the commencement of the Second World War was one of modest growth, the major event being purchase of the Dr W A Evelyn collection of prints, drawings and watercolours of York in 1931. The building was requisitioned for military purposes at the outbreak of the Second World War and closed, suffering bomb damage in an air raid on 29 April 1942.[1][2][3]

The gallery reopened in 1948 with a small temporary exhibition before a major restoration in 1951–52 after which began a major revival of fortune under the direction of Hans Hess. He made important acquisitions with the assistance of the York Art Collection Society founded in 1948 (later Friends of York Art Gallery) and the National Art Collections Fund, and then in 1955 the donation of FD Lycett Green’s collection of more than one hundred continental Old Master paintings. As a result of the systematic build up under Hess and his successors, the gallery has a British collection especially of late-19th-century and early-20th-century works with some French works representative of influential styles.[2][3]

In 1963 the gallery was given Eric Milner-White‘s collection of studio pottery. It was supplemented by other major donations and loans in the 1990s and 2000s, most notably those of WA Ismay and Henry Rothschild (1913–2009).[4]


The site for the 1879 exhibition was an area in the grounds of the medieval St Mary’s Abbey known as Bearparks Garden. It is fronted by what became Exhibition Square which was cleared by the demolition of a house and the former Bird in Hand Hotel. Designed by York architect Edward Taylor the art gallery consisted of an entrance hall, central hall, north and south galleries and on the upper floor a Grand Picture Saloon. Its intended grand classical façade decorated with 18 stone figures, a carved tympanum and 14 mosaics was not done for financial reasons and it was decorated instead with two tiled panels representing ‘Leonardo expiring in the arms of Francis I’, and ‘Michaelangelo showing his Moses’, together with four ceramic roundels depicting York artists William Etty (painter), John Carr (architect), John Camidge (musician), and John Flaxman (sculptor). To the rear of the building was a large temporary exhibition hall with machinery annex; the exhibition hall remained in use for meetings, concerts and other functions until 1909 and was not demolished until the Second World War. In 1888 the north wing was leased to York Art School which added a further storey in 1905, and after that wing was vacated by the school it housed the city archives from 1977 to 2012. Major works took place in 1951–2 to repair bomb damage and rebuild the west end, and the main gallery was refurbished in 2005. The building is Grade II listed.[1][5][6]

The 2013–15 restoration cost £8 million and was undertaken to increase display space by some 60%, including reincorporation of the north wing, an upper floor extension to the south wing, and reorganisation of the internal space for exhibition and storage. The development enables the area to the rear of the building to be restored to public use as part of the Museum Gardens. The reopened gallery houses a new centre for British Studio Ceramics on the upper floor.[7][8] The gallery reopened on 1 August 2015 at which point admission charges were introduced. Previously admission had been free.[9]



Two young women in elaborate clothing

Preparing for a Fancy Dress Ball, William Etty, 1835

The gallery has more than 1,000 paintings. Western European paintings include 14th-century Italian altarpieces, 17th-century Dutch morality works, and 19th-century works by French artists who were predecessors and contemporaries of the Impressionists. British paintings date from the 16th-century onward, with 17th and 18th-century portraits and painting of Giambattista Pittoni, Victorian morality works and early 20th-century work by the Camden Town Group associated with Walter Sickert being particularly strong. Amongst York born artists the gallery has the largest collection of works by William Etty and good paintings by Albert MooreHenry Keyworth Raine, the great nephew of William Powell Frith, gifted various works, including a portrait of George Kirby (1845–1937), the First Curator of York Art gallery.[10][3][11]

Studio Pottery

The gallery holds a collection of British studio ceramics with more than 5,000 pieces.[12] They include works by Bernard LeachShoji HamadaWilliam Staite MurrayMichael CardewLucie RieHans Coper, Jim Malone and Michael Casson.[4]

Works on paper

The collection of more than 17,000 drawings, watercolours and prints is particularly strong in views of York with more than 4,000 examples, largely watercolours and drawings, some by local artists such as Henry CaveJohn HarperJohn Browne and Patrick Hall. Watercolour artists represented include Thomas RowlandsonJohn VarleyThomas GirtinJ. M. W. Turner, and 20th century painters Edward BurraJohn Piper and Julian Trevelyan. The gallery holds the William Etty archive.[13][3]

Decorative Arts

There are more than 3,000 decorative objects particularly from Yorkshire potteries from the 16th-century to the early 20th-century, Chinese and Korean pottery from the 18th and 19th-century, and glassware.[14]

Curators and Directors


  • Visit York Tourism Awards: Visitor Attraction of the Year 2016 (Over 50,000 Visitors category) (winner)[17]
  • Art Fund: Museum of the Year 2016 (finalist)[18]
  • Kids in Museums: Family Friendly Museum Award 2016 (winner)[19]
  • European Museum Forum: European Museum of the Year 2017 (nominated/pending)[20]


  1. Jump up to:a b c Ingamells, John (January 1977). “The Elevation of the Masses”. Preview30.
  2. Jump up to:a b c Tillott, P.M., ed. (1961). A History of Yorkshire: The City of York. Dawson for The University of London Institute for Historical Research. pp. 536–7. ISBN 0 7129 1029 8.
  3. Jump up to:a b c d Green, Richard (1991). York City Art Gallery An Illustrated Guide. York City Council.
  4. Jump up to:a b York Art Gallery. “Studio Pottery”. York Museums Trust. Archived from the original on 29 May 2014. Retrieved 18 March 2014.
  5. Jump up^ Pevsner, Nikolaus; Neave, David (1995). The Buildings of England – Yorkshire: York and the East Riding. Penguin Books. p. 196. ISBN 0140710612.
  6. Jump up^ Historic England“Details from listed building database (1257852)”National Heritage List for England. Retrieved 4 April 2015.
  7. Jump up^ York Art Gallery. “Redevelopment 2015”. York Museums Trust. Archived from the original on 7 March 2014. Retrieved 17 March 2014.
  8. Jump up^ “York Art Gallery shortlisted for international award”The Press. Retrieved 13 December 2016.
  9. Jump up^ “York Art Gallery Reopens 1 August After £8m Development”. York Museums Trust. Retrieved 1 May 2017.
  10. Jump up^ York Art Gallery. “Paintings”. York Museums Trust. Archived from the originalon 17 March 2014. Retrieved 17 March 2014.
  11. Jump up^ “Paintings held by York Museums Trust”. Art UK. Retrieved 13 December 2016.
  12. Jump up^ “York Art Gallery”. Art Fund. Retrieved 13 December 2016.
  13. Jump up^ York Art Gallery. “Works on Paper”. York Museums Trust. Archived from the original on 17 March 2014. Retrieved 17 March 2014.
  14. Jump up^ York Art Gallery. “Decorative Arts”. York Museums Trust. Archived from the original on 17 March 2014. Retrieved 17 March 2014.
  15. Jump up^ Worthington, Caroline. “Refurbishment of York Art Gallery”Axis: the online directory for contemporary art. Archived from the original on 18 February 2012. Retrieved 3 June 2009.
  16. Jump up^ “Curator’s corner” (PDF). Friends of York Art Gallery Newsletter. January 2009. p. 8. Archived from the original (PDF) on 21 October 2013. Retrieved 3 June2009I’ve been now in post for six months
  17. Jump up^ “Winners of the Visit York Tourism Awards 2016”. Visit York. Retrieved 13 December 2016.
  18. Jump up^ “Victoria and Albert Museum wins Art Fund Museum of the Year 2016”. Art Fund. 6 July 2016. Retrieved 13 December 2016.
  19. Jump up^ “Awards”. Kids in Museums. Retrieved 13 December 2016.
  20. Jump up^ “EMYA 2017 Nominees”. European Museum Forum. 1 December 2016. Retrieved 13 December 2016.

External links

Newcastle Laing Art Gallery : 

Laing Art Gallery

From Wikipedia, the free encyclopedia
Laing Art Gallery
Laing Art Gallery - - 197752.jpg

Laing Art Gallery is located in Tyne and Wear

Laing Art Gallery
Red pog.svg Laing Art Gallery shown within Tyne and Wear
OS grid reference  NZ251645
Location Newcastle upon TyneEngland
Coordinates 54.975°N 1.609°W

The Laing Art Gallery in Newcastle upon TyneEngland, is located on New Bridge Street. The gallery was designed in the Baroque style with Art Nouveau elements by architects Cackett and Burns Dick and is now a Grade II listed building.[1]It was opened in 1904 and is now managed by Tyne & Wear Archives & Museums and sponsored by the Department for Culture, Media and Sport. In front of the gallery is the Blue Carpet. The building is Grade II listed.[2]

The gallery collection contains paintings, watercolours and decorative historical objects, including Newcastle silver. In the early 1880s, Newcastle was a major glass producer in the world and enamelled glasses by William Beilby[3] are on view along with ceramics (including Maling pottery), and diverse contemporary works by emerging UK artists. It has a programme of regularly rotating exhibitions and has free entry.

The gallery’s collection of seminal paintings includes John Martin‘s dramatic The Destruction of Sodom and Gomorrah,[4]as well as important works by Sir Joshua ReynoldsEdward Burne-Jones (Laus Veneris),[5] William Holman Hunt(Isabella and the Pot of Basil),[6] Ben Nicholson[3] and others. Local paintings include pictures by Ralph Hedley.[7] There is also an extensive collection of 18th and 19th-century watercolours and drawings, including work by J. M. W. Turner,[3]John Sell Cotman etc.


External links

Hull, Ferens Art Gallery :

Ferens Art Gallery

From Wikipedia, the free encyclopedia
Ferens Art Gallery
The Ferens Art Gallery - - 1340899.jpg

Ferens Art Gallery is located in East Riding of Yorkshire

Ferens Art Gallery
Location within the East Riding of Yorkshire
Established 1927
Location Queen Victoria Square, Hull
Coordinates 53.74337°N 0.33912°WCoordinates53.74337°N 0.33912°W
Website Ferens Art Gallery

The Ferens Art Gallery is an art gallery in the English city of Kingston upon Hull. The site and money for the gallery were donated to the city by Thomas Ferens, after whom it is named. The architects were S. N. Cooke and E. C. Davies.[1]Opened in 1927,[2] it was restored and extended in 1991. The gallery features an extensive array of both permanent collections and roving exhibitions. Among the exhibits is a portrait of an unknown woman by Frans Hals. The building also houses a children’s gallery and a popular cafe. The building is now a Grade II listed building.[1]

In 2009, an exhibition and live performance took place at the venue, to help celebrate the 25th anniversary of the opening of The New Adelphi Club, a live music venue less than 2 miles (3 km) north.[3]

In 2013, the gallery acquired a fourteenth-century painting by Pietro Lorenzetti, depicting Christ Between Saints Paul and Peter. The acquisition was jointly funded by the Ferens Endowment Fund, the Heritage Lottery Fund and Art Fund.[4]

In May 2015, it was announced that the gallery would get a £4.5 million makeover to enable it to host the Turner Prize in 2017 as part of the UK City of Culture programme.[5] The gallery reopened on 13 January 2017.[6][7] On 8 February 2017, Charles, Prince of Wales and Camilla, Duchess of Cornwall visited the gallery to view the completed refurbishment.[8]

Art in the Ferens Art Gallery