(Perugia 1910–1980 Brugherio) Aeropaesaggio, signed and dated A. Bruschetti XI 32, oil on canvas, 80 x 100 cm, framed, (PP)

Photo certificate: Margherita Bruschetti, Monza, 16.05.2013 (daughter of the artist)

Provenance: Private Collection, Italy

Streamline-aesthetics, movement, velocity: Aeropittura, or aeropainting, was an attempt to transform the almighty human dream of flying into art. With its chromaticity and streamline-aesthetics, its kinetic art elements and close proximity to the form language of aviation, Aeropittura captured the symbolic significance of flying, mirroring a distinct sense at the time of departure with the old, of the emerging dawn of a new and eternal world order. The aeroplane became a stylised symbol of the birth of a new man, a new humanity.
The Italian Aeropittura movement was both fascist and highly modern, writes historian Fernando Esposito in his 2011 book “Mythic Modernity”. In myth and modernity alike, Homo Volans – the flying man – serves as an idol, most famously personified by the crash and rebirth of Icarus, says Esposito. The technophile futurists’ aim had initially been to convey progress, dynamics and speed. They integrated the element of movement into static imagery, and from this particular tree in the forest of genres Aeropittura grew as a strong and independent branch. It’s no coincidence that Italian poet Filippo Tommaso Marinetti authored the manifestos for both Futurism (1909) and the Aeropittura movement (1929) – manifestos which, with their outspoken predilection for extravagance, danger and violence, also demonstrated a certain inspiration from the French symbolists and anarchists. The first Marinetti-organised Aeropittura exhibition took place in 1931 and travelled throughout Italy and Europe.
(from: Dorotheum myartmagazine, september 2013, Seite 15/16)