Pietro Annigoni’s ‘Queen Elizabeth II’, first shown in the 1955 Summer Exhibition, depicts the recently crowned monarch standing against an imaginary background. Look closely at the bottom left of the picture, and you’ll see a small self-portrait of the artist fishing for salmon. The painting had been commissioned by the Worshipful Company of Fishmongers, and Annigoni is said to have included this spot of fishing to please his patrons.
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Name : pietro annigoni

Born : 1910

Died : 1988

Art Style & Movement : Realism

Main Field/s : ,

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pietro annigoni

Pietro Annigoni, OMRI (7 June 1910 – 28 October 1988) was an Italian artist, portrait painter, fresco painter and medallist, best known for his painted portraits of Queen Elizabeth II.[1] His work was in the Renaissance tradition, contrasting with the modernist style that prevailed in his time.

Born in Milan in 1910, Annigoni was influenced by the Italian Renaissance. From the end of the 1920s on, he lived mainly in Florence where he studied at the College of the Piarist Fathers.

In 1927, he was admitted to the Academy of Fine Arts in Florence, where he attended the courses given by Felice Carena in painting, Giuseppe Graziosi in sculpture, and Celestino Celestini in etching. Annigoni enrolled in the nude class run by the Florentine Circolo degli Artisti, while attending the open class in the same subject at the Academy.

Annigoni exhibited his work for the first time in Florence in 1930 with a group of painters. He had his first individual exhibition two years later, in 1932 at the Bellini Gallery in the Palazzo Ferroni.

In 1932, journalist Ugo Ojetti featured Annigoni in the Arts section of the Corriere della Sera. Also in 1932, he won the Trentacoste prize .

Artist ID : 25256

Last Update : November 21, 2022

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Realism

Realism was a pivotal 19th-century movement that acted as a “truth-telling” force in art. It emerged as a direct rejection of Romanticism (which exaggerated emotion) and Neoclassicism (which idealized history). Realism insisted on depicting the world exactly as it was—warts and all—focusing on the mundane, the gritty, and the everyday lives of the working class.

For researchers and students, it is crucial to distinguish between Artistic Realism (the movement) and Photorealism (the technical ability to mimic a photo). Realism wasn’t just about “looking real”; it was about “being honest.” Realist painters refused to paint angels or Greek gods because, as Gustave Courbet famously said, “I have never seen an angel. Show me an angel, and I will paint one.” This movement laid the essential groundwork for Impressionism and all subsequent modern art by breaking the rules of what was considered “worthy” of being painted.

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