The pencil heretical Gino Boccasile

The pencil heretical Gino Boccasile

di Harm Wulf

matita_0Boccasile Gino was born in Bari's center, Via Quintino Sella, the 14 July 1901. The family was composed of Boccasile Angelantonio Boccasile representative of perfumes and his wife Antonia Ficarella. The artist's early youth was marked by a terrible episode, the loss of an eye: Gino had gone to play with friends on a construction site and a drop of lime hit him in the left eye, while he was drinking at a fountain. After expressing an early talent for drawing he finished his studies at the School of Arts and Crafts in hometown. When his father died, also to avoid the mother weighed, decided to leave Bari and moved to Milan. After some initial difficulties his drawing ability helps him to be recruited in the study graphic Mauzan-Morzenti, where he began to draw even sketches and models of women's clothing. Immediately imposes his personal style: windows displaying his works are crowded with ladies who decreed success and notoriety. “La Gazzetta del Mezzogiorno” in a note of 13 June 1929, the corresponding Milan, made himself known to Bari had become famous as their fellow, impostosi in fashion. Among other things, he said: “…now the technique and fashion require large cartoons drawn and colored by master, so full of movement, that the public stop to look at them with visible complacency. In this art that is difficult to say the extent and tone, a Milano, won first place, the painter Bari Boccasile, now the arbiter of elegance figuriste the capital of Lombardy ". After the article appeared “La Gazzetta” the organizers of the first of the Fiera del Levante 1930 commissioned him to design a series of postcards to commemorate the event. Now Boccasile it is known and can count on a large audience of admirers. Her designs are reproduced on numerous magazines "Sovereign", “the illustration”, “Fantasie d'Italia”, laying down the law in the tastes of women, but also illustrating the same, novellas and short stories. Compared to the hard life of the early Milanese things were better, but his goals were more. To request Achille Mauzan who had moved and that will remain in South America for many years, decided di partire per l'Argentina, but the stay in Buenos Aires last long. Gino Boccasile, Gi and Bi as he signed himself as his friends called him, he met his future wife, Alma Courses, that would give him 2 children: Bruna and Giorgio. Immediately after his return to Milan, depart for Paris. Here realizes some excellent covers of the magazine “Paris Tabou "and he was given a personal. It also exposes a couple of paintings at the Salon des Independants in 1932. The stay in the French capital last long. He returned to Milan, is with his friend Franco Aloi, an advertising agency, the “Acta” in Galleria del Corso, finally giving vent to his creativity, incredible communicative potential of which he was endowed, and that would not have had equal. The brilliance of his tract, of his images, could attract the passer-by rushed and communicate in an instant message for which they were created. A visual communication of quick-setting with characters that, still, seem to leap, explode from the manifesto. Armed with these innate qualities and the hard apprenticeship made, began working as a graphic artist and illustrator working with periodic Woman (1932), Goddess and Reading (1934), Bertoldo (1936), The Million (1938), The illustration of the Doctor (1939), Here, Seven of Diamonds and Drama (1939) and drawing many book covers for publishers Mondadori and Rizzoli. For the publisher Mondadori illustrates several volumes of the series Novels of Palma and realizes the covers of novels Hood and Sword. Now it is stated illustrator, Cartoonist, and poster advertising a self-taught but with popularity comes Miss Grandi Firme. The girl who appeared on the covers of the magazine toned pastel pink Le Grandi Firme, literary magazine founded and directed by Pitigrilli (Dino Segre) and transformed into a weekly rotogravure by Cesare Zavattini (then director of the Mondadori publishing) after the sale of the head to Arnoldo Mondadori. Among the collaborators there is Rino Albertarelli, which he asked his friend Gibi to make a sketch for the cover of the new magazine. Zavattini just views of the creature Boccasile, realizes that he had found what he was looking. Since April 1937 September 1938 (when the head was suppressed by the government) the success was truly remarkable, Miss Grandi Firme entered the common cultural heritage of the Italian (the eponymous song and a contest will make it even more popular); the designer will be able to disegnarne also some short comic strip before the forced interruption. The women were drawn from Boccasile characteristics precise enough. Shapely thighs were supported by esilissime ankles. Buttocks and perfect giunonici crowned tiny wasp waists: characteristics that affect the forms "valves masculine" as he himself described the erotic impulses. Antonio describes the Faeti: "His women leaving the inhibiting confines of satin, Silk, wool of which are bandaged, since they seem to literally about to detonate the taut surfaces and shiny under which divined a bully beef and soda, compact and terse as marble of a statue ". His models were from the street: the artist met in the tram or at the pool in Milan. In an interview stated Boccasile: “About my covers ..., many wonder where I find models with such beautiful legs, I have already said that I consider my legs as the most important thing in women, for me the female body is nothing more than the rest of the legs. ". About his passion for the fairer sex, in the article "Me and women," which appeared in Le Grandi Firme of 1 July 1937 stated: "I am a painter optimistic, because I see life at its most impressive: beautiful women ... Nothing is more eloquent than a pair of beautiful legs. ". Draws, In addition to covers “The Big Names”, posters and postcards for agriculture, the protection of savings, the work, the veterans associations with people of strong features, joyful and vigorous typical of his style. We are still in the period of the great peaceful agrarian reforms, of massive land reclamation and the willingness of the regime to achieve food self-sufficiency: the clients are the Insurance Companies against the danger of fire and hail, the rural banks, agricultural associations. Surely Boccasile in this type of work has to be part of the buyers less freedom of expression than in these works in advertising but also leaves its mark. With the outbreak of the conflict, aided by the War Department that designates graphic propagandist, His work is geared towards the propaganda war: it's up to Gino Boccasile draw our fighters, our weapons, the deeds of soldiers. From the heady early victories in the first tough losses: il duca D'Aosta, albeit with the honors of war, must put an end to the heroic resistance at Amba Alagi, Boccasile and dedicates the manifesto “We will”. We are in the 1942, the Italo-German troops are marching towards Moscow. It's published a series of twelve postcards signed Boccasile describing the atrocities of the Bolsheviks and the suffering of the Russian people oppressed by the communist regime: Postcards are the crudest of the entire production of Boccasile. A Milano, after September 8,, Boccasile not hesitate: adheres to the Italian Social Republic and gets a job at the office propaganda. He was appointed lieutenant of the Italian SS and continues unceasingly to produce posters in a study protected by armed soldiers. The hatred grows and the civil war raging: Boccasile not soften his political positions but that the radicalized. His posters speak for themselves: no mercy for traitors and rebels, Anglo-American armed resistance to the invader only way to redeem the honor of Italy muddied by betrayal. It seems to be the same Mussolini to want by his side in the years of the Italian Social Republic. In this period his posters became famous icons to Italy that he had not given up and continued to fight. It is said that the great designer has worked until the last, with the Italian soldiers of the SS who were guarding around the room in which elaborated his plans. The role of graphic war propaganda and policy, and the degree of SS officer will cost you at the end of the war a process. He was arrested, imprisoned and tried for collaborating undergoing, in seguito, the purge and a sort of exile editorial. Acquitted for not having committed crimes, remains sidelined for a few years, many potential clients are afraid of her signature. Resumes its activities from 1946 especially with advertising graphics slightly changing style. Draw some postcards for the new MSI and associations of former combatants but also very explicit erotic drawings for a publisher for the English and the French publisher Lisieux for which illustrates "the satyr Teofilo". Even after Fascism, Gino Boccasile drew Italy: always fu lui, after starting his own management and graphics, to invade the walls of the city and the countryside with the advertising of those days. From Formaggino My blade Bolzano, by Ramazzotti to bikes Bianchi, and then again the toothpaste Chlorodont, Calzature le Zenith, the "Meeting of the Adriatic Sicurtà", lo Yogurth Yomo, perfumes Paglieri, lo shampoo Tricofilina, everything was signed Boccasile. In addition to advertising production (had censorship trouble because of the manifesto of Perfumes Paglieri with a girl topless covered later by a veil or garlands), Boccasile designed for weeklies Incanto, Heaven and Miss Seven, where he revisited his famous female beauties. Among his recent works are to mention the beautiful shell with pink made for Bari in May 1951. He died prematurely in Milan 10 May 1952 for a bout of bronchitis and pleurisy, while he was illustrating The Decameron. Supplemented by tables Albertarelli, Bertoletti, Molino De Gaspari and Boccaccio's masterpiece was published by Edizioni d'Arte in Milan 1955. The artist's death they found in few and many even rejoiced in the mourning. It was an extraordinary artist of the design but also a damn that he had chosen the wrong side and had remained faithful to his ideas. Gino Boccasile deserves to be known because it has taught the art of communicating with the design and why his posters have spoken better than many writers of his time. The wide graphic production of war Gino Boccasile is located in the volume dedicated to posters of the Italian Social Republic, edited by Ernesto Zucconi (Ernesto Zucconi Social Republic. The posters Novantico Publishing - Ritter 2002 hardcover, Color, Texts in Italian, French, German and English, 208 pages, format 21 x 29,7 cm 45,00 €, edition on cd-rom 20,00 €, ask the library: La Bottega del Fantastico Via Caio According to Pliny 32, 20129 Milan Phone: 02 201310) http://www.ritteredizioni.com/

All cards Gino Boccasile with the antiquarian market quotations are contained in

Furio Arrasich Boccasile. Catalogue of postcards Ed. The Postcard, 1993, 15,00 euro

Can be ordered at: Vaccari srl – Via M. Buonarroti, 4641058 Vignola (You) Phone 059.77.12.51 Fax (++39) 059.76.01.57 http://www.vaccari.it/home2.htm

A review of the political work, Advertising and erotic Gino Boccasile is inserted in the interesting site www.thule-italia.com in the section devoted to http://www.thule-italia.com/arte.html

 

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Bibliography and graphic collections:

Gino Boccasile Miss Grandi Firme, Milan, 1981 (1937), Longanesi

Ernesto Zucconi Social Republic. I manifest Milano, 2002, Novantico Publisher-Ritter

Giuliano Vittori was once the Duce: the regime in Rome postcard, 1975, Savelli

Roberto Guerri posters Italians in the Second World War Milan, 1982, Rusconi

Giovanni Boccaccio's The Decameron Milan, 1955, Art Editions with 101 tables Boccasile

D. Villani History of the advertising poster, 1964, All, Milan

M. Gallo posters in the history of costume, 1972, Mondatori, Milan

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