Browse By Museum
Browse By Major Acquisition
- Solomon R. Guggenheim Founding Collection
- Karl Nierendorf Estate
- Katherine S. Dreier Bequest
- Thannhauser Collection
- The Hilla Rebay Collection
- Peggy Guggenheim Collection
- The Panza Collection
- The Robert Mapplethorpe Foundation Gift
- Deutsche Guggenheim Commissions
- The Bohen Foundation Gift
- Guggenheim UBS MAP Purchase Fund
Put over 1,200 Artworks
in Your Pocket
Download the free Guggenheim app to explore our collection, including works by Cezanne, Van Gogh, Kandinsky, and more.
Send a personalized greeting today!
Visit the Online Store to purchase exhibition catalogues, e-books, and more.
b. 1883, Cortona, Italy; d. 1966, Paris
Gino Severini was born April 7, 1883, in Cortona, Italy. He studied at the Scuola Tecnica in Cortona before moving to Rome in 1899. There he attended art classes at the Villa Medici and by 1901 met Umberto Boccioni, who had also recently arrived in Rome and later would be one of the theoreticians of Futurism. Together, Severini and Boccioni visited the studio of Giacomo Balla, where they were introduced to painting with “divided” rather than mixed color. After settling in Paris in November 1906, Severini studied Impressionist painting and met the Neo-Impressionist Paul Signac.
Severini soon came to know most of the Parisian avant-garde, including Georges Braque, Juan Gris, Amedeo Modigliani, and Pablo Picasso; Lugné-Poë and his theatrical circle; the poets Guillaume Apollinaire, Paul Fort, and Max Jacob; and author Jules Romains. After joining the Futurist movement at the invitation of Filippo Tommaso Marinetti and Boccioni, Severini signed the Manifesto tecnico della pittura futurista of April 1910, along with Balla, Boccioni, Carlo Carrà, and Luigi Russolo. However, Severini was less attracted to the subject of the machine than his fellow Futurists and frequently chose the form of the dancer to express Futurist theories of dynamism in art.
Severini helped organize the first Futurist exhibition at Galerie Bernheim-Jeune, Paris, in February 1912, and participated in subsequent Futurist shows in Europe and the United States. In 1913, he had solo exhibitions at the Marlborough Gallery, London, and Der Sturm, Berlin. During the Futurist period, Severini acted as an important link between artists in France and Italy. After his last truly Futurist works—a series of paintings on war themes—Severini painted in a Synthetic Cubist mode, and by 1920 he was applying theories of classical balance based on the Golden Section to figurative subjects from the traditional commedia dell’arte. He divided his time between Paris and Rome after 1920. He explored fresco and mosaic techniques and executed murals in various mediums in Switzerland, France, and Italy during the 1920s. In the 1950s, he returned to the subjects of his Futurist years: dancers, light, and movement. Throughout his career, Severini published important theoretical essays and books on art. Severini died February 26, 1966, in Paris.