Giorgio Morandi was born in Bologna on July 20, 1890. As a boy, he demonstrated an early artistic flair. In 1907, he matriculated at the Academy of Fine Arts in Bologna, where he completed the preparatory course and participated in the common course from 1909 to 1910, followed by the special figure course from 1910 to 1913. Initially excelling as a student, until 1911, the subsequent two years saw clashes with professors stemming from Morandi’s evolving interests. He had already established his distinct, autonomous language, evident in works such as Paesaggio, 1911, which Cesare Brandi described as embodying a “vast sky of loneliness without landings,” and Ritratto della sorella, 1912-1913, which Giuseppe Raimondi interpreted as echoing certain severity reminiscent of André Derain’s “Gothic” phase. The artistic influences that shaped Morandi’s early development are well-documented, ranging from Paul Cézanne to Henri Rousseau, and from Picasso to André Derain. Additionally, Morandi nurtured a keen interest in the rich tapestry of Italian art from centuries past.
In 1910, he traveled to Florence and admired the masterpieces of Giotto, Masaccio, and Paolo Uccello in the churches and the Uffizi. In 1912, he produced his inaugural etching with a declared print run, Ponte sul Savena, where Lamberto Vitali discerned a Cézannean influence. The subsequent year marked the Morandi family’s inaugural holiday in Grizzana, where the young artist created his initial Paesaggi. Between 1913 and 1914, he delved into Futurist poetics, influenced by his proximity to Osvaldo Licini and Giacomo Vespignani. Through them, Morandi encountered Balilla Pratella, followed by Marinetti, Boccioni, and Russolo. His attendance at Futurist gatherings in Modena and Bologna, as well as the Pittura Libera Futurista exhibition in Florence organized by Lacerba from November 1913 to January 1914, is documented.
1914 is marked by Morandi’s debut exhibitions. In March, the renowned five-person showcase took place at the Hotel Baglioni in Bologna, featuring Osvaldo Licini, Mario Bacchelli, Giacomo Vespignani, Severo Pozzati, and Morandi himself. Morandi’s contribution included thirteen canvases and four pencil drawings, showcasing pieces such as the Ritratto della sorella from 1912-1913, four Paesaggi from 1913, two Paesaggi from 1914, and several Nature morte.
One of these Nature morte and a drawing are resubmitted after a few days to the First Free Futurist Exhibition at the Sprovieri Gallery in Rome. Morandi was also invited to the Second Roman Secession, where he presented the Paesaggio di neve of 1913, while the Futurist group is excluded from the program.
Despite these years of profound introspection, few works from this period endure, as Lamberto Vitali recalls, “many being destroyed”. Following Bagnanti, Paesaggi and Nature morte of 1915-1916, the onset of the highly influential Metaphysical period unfolded, featuring around a dozen works from 1918-1919, showcasing Morandi’s significant and independent role within the movement.
In 1919, facilitated by his friend Raimoni, Morandi was introduced to Carlo Carrà and Giorgio de Chirico. It was through the same friend that he made contact with the literary figures of La Ronda. As the artistic style of the Bolognese artist evolved towards greater plasticity, aligning with the principles espoused by the group led by Plastic Values, notable works such as the Natura morta con l’orcio of 1920 emerged. Mario Broglio remained steadfast in his support, organizing group exhibitions first in Berlin and other German hubs in 1921, followed by the Spring Fiorentina in 1922, where Morandi featured prominently. From 1922 to 1925, Morandi produced a series of luminous Paesaggi noted by Vitali as being indebted to Corot, not solely for their tonal solutions but also for their essence. Morandi remained engaged in the cultural discourse, attending the two exhibitions of the Novecento Italiano at the Permanente in Milan in 1926 and 1929. Although he didn’t actively participate in Margherita Sarfatti’s group events, he exhibited his works at various venues, including the Bonaparte Gallery in Paris in 1929, as well as in Basel, Bern, and Buenos Aires in 1930.
Morandi also exhibited frequently abroad: alongside the Novecento Italiano exhibitions, in 1929 he participated in the prestigious Carnegie Prize in Pittsburgh, marking the beginning of a series of subsequent invitations, including returns in 1930, 1933, 1936, and post-World War II on three additional occasions. In 1931, one of his Natura morta pieces was featured at the Italian Week in Athens, followed by another display at the Kunstlerhaus in Vienna for the “Moderne Italienische Kunst” exhibition in 1933. Morandi’s works were also included in the Italian Art Exhibition organized by the Venice Biennale in the United States in 1934. In 1935, two of his very recent Natura morta were showcased at a significant exhibition of contemporary Italian art held at the Jeu de Paume in Paris. His paintings made appearances at the Universal Exhibition in Paris in 1937, and in the same year, he was among the guests invited by the Venice Biennale to a major exhibition in Berlin. This trend continued with Morandi’s exhibition at the Kunsthalle Bern in 1938, where he showcased four works. In 1939, he sent a collection of particularly significant pieces to the Golden Gate Exhibition in San Francisco. Additionally, in 1930, he participated in the Italian art exhibition held in Zurich. Morandi’s presence at the Quadriennali in Rome holds even greater significance. In 1931 and 1935, he served on the acceptance committee and exhibited several notable works, including Natura morta con la fruttiera (1931). However, it was in 1939, during the third edition of the Roman exhibition, that the “Morandi case” reached its zenith. An entire personal room was dedicated to the artist, featuring 42 oils, 2 drawings, and 12 etchings. Furthermore, Morandi received the second prize for painting, narrowly trailing behind the younger Bruno Saetti.
Despite facing controversy, Morandi persisted in his artistic endeavors, finding solace in the steadfast support of admirers such as Longhi, Brandi, Vitali, Ragghianti, and Gnudi. He continued to labor in his studio on Via Fondazza, with summers spent in Grizzana. The onset of the war years forced Morandi to retreat to the Apennine countryside in June 1943, where he embarked upon what Francesco Arcangeli describes as a “great season,” evident in the Paesaggiand Natura morta pieces from 1942-1943. Amidst renewed debates over the role of art in societal engagement, it is noteworthy that Morandi was awarded the first prize for painting at the revitalized 1948 Biennale. He presented eleven canvases from the years 1916-1920 in the section dedicated to Tre pittori italiani dal 1910 al 1920 alongside works by Carrà and de Chirico.
In that very year, Carlo Alberto Petrucci orchestrated a comprehensive exhibition of Morandi’s etchings at the Calcografia Nazionale in Rome, emphasizing the significance of the artist’s graphic output. This event reignited both press and public interest, solidifying Morandi’s stature as one of the eminent masters of the century among a discerning and expanding circle of admirers. A notable moment in this trajectory of critical acclaim arrived in 1957 when Morandi was awarded the first prize for painting at the fourth São Paulo Biennial in Brazil, following his earlier triumph in 1953 when he clinched the first prize for engraving. Moreover, during these years, Morandi’s works were exhibited as the Palais des Beaux-Arts in Brussels in 1949 (featuring his graphic art), the Gemeentemuseum in The Hague, and the New Burlington Galleries in London in 1954, the Kunstmuseum in Winterthur in 1956, the World House Gallery in New York in 1957 and 1960, Siegen in 1962 where he was honored with the Rubens Prize, and the Badischer Kunstverein in Karlsruhe in 1964—the year of his passing in Bologna.