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Eugenio Pellini e l’arte funeraria

digital Eugenio Pellini e l’arte funeraria
Articolo
rivista ARTE LOMBARDA
fascicolo ARTE LOMBARDA - 2016 - 3
titolo Eugenio Pellini e l’arte funeraria
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 05-2017
issn 0004-3443 (stampa)
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Like other great Italian sculptors of his time, Eugenio Pellini (1864-1934) devoted an important part of his artistic activity to funerary art. Although it was well known, this production had not been the subject of a philological study as carried out in this text through in-depth research of bibliographic and documentary sources, starting with the rich and almost unpublished materials preserved at the artist’s studio in Milan, including photographs. At the end of the article, a list of the funerary works discovered and verified in situ, amounting to 89 units, is published. Pellini carved sculptures for funerary monuments since the late eighties of the nineteenth century, operating essentially in two large yards: the Monumental Cemetery in Milan and the Giubiano Cemetery in Varese, both designed by architect Carlo Maciachini. He operates in various types, from the isolated monument of the so-called ‘garden’ tombs to the bas-relief for locules, from the cinerary urns to the most complex decorative sculpture applied to architecture in the case of funerary aedicules, collaborating with some engineers and architects such as Alfredo Melani, a significant representative of Modernism. Within almost forty years of activity, Pellini experiences a sculpture characterized by an authentic and spontaneous adherence to the Scapigliatura ways interpreted by Giuseppe Grandi, approaching from the end of the nineteenth century to stimuli and inspiration from the instances of international symbolism. His funerary production is characterized by the predominance of the figure of Jesus Christ, studied and proposed in many versions of which the most well known is the one that goes under the title of Nazareno or Getsemani.

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