MORNING. 
AT THE CEMETERY Gann. Landscape Museum. Verbania.
1885 ANVERS
A SHEPHERD OF ANTIQUITY.
BIOGRAPHY. Victor De Grubicy
Dragon supporter and interpreter of the divisions in Italy, Grubicy is one of the masters "of the first generation of pointillism (John Segantini, José Pellizza Volpedo, Previati Gaetano, Angelo Morbelli, Emilio Longoni , Plinio Nomellini.) Recent studies, especially after the publication of annotated catalog, whose arguments are supported by a philological reconstruction thorough - get even more clear the specific contribution Grubicy painting, also in relation to issues of international symbols. In this sense the artist's work has often been considered as part of large exhibitions such as the recent "Italie 1880-1910. The test of modern art", curated by Gianna Piantoni at the National Gallery of Modern Art in Rome (2000-2001).
belongs to an aristocratic family-Lombard Magyar open to cultural stimuli of their time, Victor Grubicy, born in Milan in 1851, had a liberal arts education. From 1870 he devoted himself to art trade by regular trips to London, Paris and Antwerp, visiting art exhibitions, public and private. Alongside collaborating with Peter Nessi & C Galleria Along with collaboration with the Gallery Links & C. Pedro de Milan, in 1876 became the owner with his brother Alberto, construction manager and financial intermediary.
Initially, the brothers Grubicy were intended to promote Scapigliatura members as Tranquillo Cremona and Daniele Ranzoni, Gignous Eugene, let alone teachers consolidated market, like Moses, and Bianchi Giacomo Favretto. Later, he promoted the dissemination of young artists and lesser known, first Segantini, Juan and Emilio Longoni, Angelo also Morbelli Tominetti and Achilles, keeping some of their actual contracts also participating in formal elections and the issues.
Victor, meanwhile, continued to travel and stay abroad frequently, between 1882 and 1885 in Holland, where he was in contact with members of the so-called School of The Hague, Isaac Israel, Hendrik Willem Mesdag and, especially, Anton Mauve, who in 1884 began painting.
Back in Italy, continued to paint independently, first with an amateur approach, gradually being abandoned by a professional safer moves in a naturalistic lyrical landscape of distant ancestors . In 1889, after Grubicy contrast with the economic situation of the family, stopped working with his brother, who remained the sole owner of the gallery, intensified since then, its binding publications, writing articles and reviews on "La Reforma", "Art Chronicle," the liberal idea. "In the same year he first presented his paintings in a public exhibition, participating in exhibitions of the Society of Permanent family art until 1899 and Brera Triennale, and since then never stopped participating in the Venice Biennale.
Between 1891 and 1898 he spent the winter months in Miazzina, an island, working on creating a cycle of works last breath pantheistic, entitled "Winter in the mountains, culminated in the altarpiece of eight paintings now in the Gallery "Modern Art in Milan."
After 1898, suffering from a severe neurosis, does not create new paintings, with the exception of some post-mortem portraits, encouraged by his friends as Arturo Toscanini, devoting himself instead to reinterpretation in the main divisions of the works previously carried out in a review process emotional places and times and lived.
In the last years of life was an effective presence on the cultural scene in Milan, promoting and encouraging young artists from Welcome who became the heir and successor of the work.
SOURCES: From the text: ARCHIMAGAZINE.
from the tables: Several of Google. Art Gallery, Museum Paesaggio, Arcadja Art Nouveau in Italy.
SORGENTE ALLA.
ALL'OVILE. 1896
1889 SAIL
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