(Milan 1852 - 1917)
EBBREZZA, 1888
Etching, 1888; a fine impression of the second state of two, in black ink, richly and skillfully printed working on the surface tone (acquaforte monotipata), on thick wove white paper. Signed Conconi in the film of ink left in the plate in wiping (the smoke of the cigarette). With large margins, in very good condition. At the lower right margin, in red chalk, a dedication partially indistinct and the signature. LConconi
To the plate-mark 237 x 495 mm, the entire sheet measuring 412 x 588 mm. See M. Bianchi, G. Ginex, Luigi Conconi incisore, Milan, 1994; cat. no. 24. This is, by sure, the most sought-after print by Conconi.
Over the course of my professional career, I've had at least four other impressions of this etching in my hands. You can see them all HERE, appreciating the differences due only to the different inking.
Conconi studied architecture at the Accademia di Brera and the Politecnico di Milano. He came into contact with members of the literary and artistic circles of the Scapigliatura – the Italian equivalent of the French Bohème– notably Tranquillo Cremona and Daniele Ranzoni, both of whom influenced his early paintings. In the 1880s Conconi moved from the Realism of Scapigliatura toward Symbolism. The awards he received in Paris in 1900 and Munich in 1913 led to his international recognition.
Conconi, who personally saw to the production of virtually all his plates, was the leading exponent in Lombardy of Acquaforte monotipata. This technique involved the artist drawing directly onto the ink covering the plate, prior to pulling the impression. In this way each resultant print has different characteristics.
