Gaeta seen from Formia, 1924-25. Oil on canvas. Dimensions cm h. 75x92. Signed in red lower left "A. Mancini" Provenance: directly from the artist by hereditary succession Bologna, private collection Exhibitions: 1925 Milan. Individual exhibition of the painters Antonio Mancini and Arturo Rietti, Galleria Pesaro, n 17 1962 Milan. Exhibition of Antonio Mancini Villa Comunale, October-November, with texts by C. Lorenzetti and F. Bellonzi 1967 Florence. Modern Art in Italy, 1915-1935, Palazzo Strozzi, presentation by C. L. Ragghianti, n 171 1991 Milan. Antonio Mancini, Società per le Belle Arti ed Esposizione Permanente-Milano, XXXIV Festival dei Due Mondi Spoleto, catalog edited by Bruno Mantura and Elena di Majo 2009 Treviso. Antonio Mancini Exhibition 1852-1930, curated by Paolo Campopiano   Bibliography: Catalog of the individual exhibition of the painters Antonio Mancini and Arturo Rietti, Galleria Pesaro. Edited by Vittorio Pica and Raffaello Gioli. Bestetti e Tuminelli, Milan 1925, plate n. 17 Catalog of the Antonio Mancini Villa Comunale exhibition, October-November, with texts by C. Lorenzetti and F. Bellonzi. In: Antonio Mancini edited by Fortunato Bellonzi, Aldo Martello Editore Milano, plate n. XLVIII Modern art in Italy 1915 - 1935. Florence, Palazzo Strozzi, February 26 - May 28, 1967. Presentation by Carlo Ludovico Ragghianti, edit. Marchi e Bertolli 1967, plate n. 171 Catalog of the Antonio Mancini exhibition, Società per le Belle Arti ed Esposizione Permanente-Milano, XXXIV Festival dei Due Mondi Spoleto, catalog edited by Bruno Mantura and Elena di Majo. Tipografia La Piramide, Rome 1991, plate n. 47 page 118 Catalog of the exhibition “Antonio Mancini 1852-1930” edited by Paolo Campopiano, Grafiche italprint Treviso 2009, plate n. 23 Excerpt from Gaia Santoro's thesis “Antonio Mancini between genius and madness”, Academy of Fine Arts Bologna 2014: “Mancini is a prolific and imaginative landscape painter, for the selection of his subjects and for the scenic and perspective views that he decides to choose. As he describes, with decisive and robust brushstrokes, the features of the faces and clothes of his characters taken from reality and delineated with strength and true light, so he manages to build powerful views, where the light is ethereal and lives in absolute and real time, the one where there are no minutes or seconds but only the present, truer and more alive than ever. Devoid of characters in the streets or sitting at the cafe tables, in the landscapes he avoids the human presence, almost distinguishing nature from man, so his scenarios are immersed in an infinite time where nothing can age and be consumed, but everything remains as it is and as it should be, true and real, forever. He nurtures the landscapes with his contemplative character, which distinguishes him from the landscape production of the Neapolitan painters of his time, committed to creating, for the most part, almost exclusively views, more or less scenographic, or superficial and illustrative folkloristic notations. For Zanzi, Mancini's landscape is: “of a rare and suggestive interpretive power of the earth, of the plants, of the sea, of the flowing waters and of the clear and deep sky, all air and light. [He] found in Mancini the discoverer of the “genius of the place” in the vegetable, geological and telluric substance and the revealer of the most secret colors… [make] one think of Cézanne….” (E. Zanzi, Art Exhibition of the Gazzetta del Popolo, Turin, 1940.)” Excerpt from card n. 47 by Elena di Majo present in the exhibition catalog (4): “…in his last landscape paintings the naturalistic allusion has now become in Mancini a simple trail of color evoking an indistinct visual impression… A sort of solidified "impressionism", without rules or optical laws… serves to resolve point by point, in the density of color and in its luminous refractions, the immovable formal entity of vision… the hidden key to interpreting his restless manipulation of color and lights to capture on the canvas the true epiphany of things.” Card edited by Professor Gaia Santoro