Ugo Celada da Virgilio (Borgo Virgilio 1895 – Varese 1995), Lagoon, 1950s

Ugo Celada da Virgilio (Borgo Virgilio 1895 – Varese 1995), Lagoon, 1950s. Oil on panel, 74x64 cm. Signed “UGO CELADA DA VIRGILIO” in the lower left. The painting depicts a view of Venice, with a boat in the foreground and the island of San Giorgio in the background. The colors are very vivid, as is typical of Celada's style: the red of the boat's sail captures all the attention. Intense light illuminates the scene: the white stone of the Basilica's facade reflects the sunlight, creating a beautiful contrast with the red sail. The pictorial style is Celada's very personal one, inspired by Magical Realism, but with tendencies towards German Neue Sachlichkeit. The peculiarity of this painting is on the back: the artist also painted a portrait of a lady on this side, making the painting a double-sided work, front and back. BIOGRAPHY Celada was born in Cesere di Virgilio, in the province of Mantua, on May 25, 1895. He became interested in art as a child, despite his father's disapproval. He began his training at the School of Art and Crafts in Luzzara (Reggio Emilia), which he completed with honors. He received a scholarship from the Franchetti Institute and enrolled at the Brera Academy. He followed the teachings of Cesare Tallone. In 1914, he had to interrupt his studies to enlist, but he used his skills for the compilation of topographic maps. After the war, he set off for Paris, but his journey stopped in Genoa, where he stayed and worked for several months. In 1920, he participated in the Venice Biennale with a work. He also participated in 1924. From 1920 to 1926, Celada made a name for himself on the international scene: he held exhibitions at the Permanente in Milan and, in 1926, his painting for the Venice Biennale was praised by Emile Bernard, discoverer of Van Gogh and Cezanne. The following year, Celada managed to reach Paris, where he painted portraits. Back in Italy, he participated in numerous exhibitions throughout the country. In the 1930s, Celada, while remaining outside the cultural circuits of the regime, continued to work assiduously. After World War II, he focused mainly on portraits and still lifes.