Gaeta seen from Formia, 1924-25. Oil on canvas. Dimensions cm h. 75x92. Signed in red on the lower left "A. Mancini" Provenance: directly from the artist through hereditary succession Bologna, private collection Exhibitions: 1925 Milan. Solo exhibition of painters Antonio Mancini and Arturo Rietti, Galleria Pesaro, no. 17 1962 Milan. Antonio Mancini Exhibition, 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, no. 171 1991 Milan. Antonio Mancini, Society for Fine Arts and Permanent Exhibition-Milan, XXXIV Festival of Two Worlds Spoleto, catalog curated by Bruno Mantura and Elena di Majo 2009 Treviso. Antonio Mancini Exhibition 1852-1930, curated by Paolo Campopiano Bibliography: Catalog of the solo exhibition of painters Antonio Mancini and Arturo Rietti, Galleria Pesaro. Edited by Vittorio Pica and Raffaello Gioli. Bestetti e Tuminelli, Milan 1925, plate no. 17 Catalog of the Antonio Mancini Exhibition, Villa Comunale, October-November, with texts by C. Lorenzetti and F. Bellonzi. In: Antonio Mancini edited by Fortunato Bellonzi, Aldo Martello Editore Milan, plate no. 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 no. 171 Catalog of the Antonio Mancini exhibition, Society for Fine Arts and Permanent Exhibition-Milan, XXXIV Festival of Two Worlds Spoleto, catalog curated by Bruno Mantura and Elena di Majo. Tipografia La Piramide, Rome 1991, plate no. 47 page 118 Catalog of the exhibition “Antonio Mancini 1852-1930” curated by Paolo Campopiano, Grafiche italprint Treviso 2009, plate no. 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, both in the selection of his subjects and in the scenic and perspective views he decides to choose. Just as he describes the features of the faces and clothes of his characters, drawn from reality and outlined with real strength and light, with decisive and robust brushstrokes, so he manages to construct 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 café 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 must be, true and real, forever. He nourishes the landscapes with his contemplative character, which distinguishes him from the landscape production of the Neapolitan painters of his time, engaged in 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 interpretative power of the earth, plants, sea, flowing waters and the clear and deep sky, all air and light. [He] found in Mancini the discoverer of the “genius of the place” in the vegetal, geological and telluric substance and the revealer of the most secret colors... [it] makes one think of Cézanne....” (E. Zanzi, Art Exhibition of the Gazzetta del Popolo, Turin, 1940.)” Excerpt from card no. 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 the vision... the hidden key to interpreting his restless manipulation of color and light to capture on canvas the true epiphany of things.”