Francesco Trombadori

Francesco Trombadori’s quotations

Medium-sized works, such as landscapes, portraits, and still lifes, by Francesco Trombadori range between 2,500 euros and 7,000 euros. They start at 8,000 euros and go over 10,000 euros for larger works of great technical quality.

Very rare paintings from the early Divisionist and Secessionist periods are highly sought after: one of them, The Countess of Galleni from 1913, realized 19,696 in 1999.

These indicated are only general estimates: many factors contribute to the valuation of a work. So we recommend that you send us a photo of your work by Francesco Trombadori to receive an accurate estimate free of charge.

Biography

Francesco Trombadori, born Trombatore, was born in Syracuse in 1886, where he attended the Technical School. He became interested in books and painting, fascinated especially by Caravaggio’s Seppellimento di Santa Lucia, which he could admire in his hometown. In 1907 he moved to Rome, enrolling in the Academy of Fine Arts and the Free School of the Nude, and these were to be significant years for him. He formed deep friendships with fellow students Virgilio Guidi, Mario Broglio and Cipriano Efisio Oppo.

Divisionist ascendancy in early painting.

He frequented the Roman studio of Enrico Lionne and this brought him at first close to post-impressionism and pointillism. In the early 1910s, he changed his surname to Trombadori and made paintings depicting Roman life in its everyday life. These early works are exhibited in the foyer of the Teatro Massimo in Syracuse. His exhibition debut in official settings, on the other hand, occurred in 1914 at the second exhibition of the Roman Secession, participating with a canvas that still reflects the Divisionist and Post-Impressionist taste as Canzone siciliana. In 1915 he enlisted in the infantry, but the following year he was wounded during the taking of Gorizia and then returned to Rome. During the war years he continued to experiment with elegant pointillism on subjects dedicated to his native land, such as the impetuous Siracusa mia!

A silent and balanced painting with sharp and luminous chromatism

After the war he took a studio in Villa Strohl-Fern, a place where he would remain for the rest of his life. In these years a significant change in his language takes place; in fact, he approaches the poetics of the Return to Order, together with colleagues and friends Carlo Socrates and Antonio Donghi.

He often met with other artists at the third room of the Caffè Aragno and joined “Valori Plastici,” becoming one of the most celebrated interpreters of this new language. In 1924 he participated in both the Venice Biennale with a Still Life, and the Milan Exposition with Female Figure, works that fit perfectly into this climate. His painting becomes neat and translucent, and the scenes are enveloped in a suspension outside of time. The attention to chromatic detail and the reference to the Renaissance setting also bring him closer to Flemish painting. The artist also took part in the Novecento movement by exhibiting at the 1926 and 1929 shows.

Still lifes, landscapes and portraits in official exhibitions

In the 1920s and 1930s he produced numerous portraits, still lifes and landscapes, the latter of which were exhibited at the 1929 Fascist Union of Lazio as Paese d’Abruzzo, Landscape Study, Le case di Nemi and Natura morta. He also returns there at the next edition with Portrait, Country and Still Life . The figure paintings or landscapes are always composed, suspended and silent, and the color is sharp and clear.

In 1932 he took part in the Venice Biennale with seven works including Self-portrait, Saline in Sicilia, Paese dalla finestra, Fanciulla nuda and Fanciulla con la chitarra. In 1935 he participated in the Rome Quadriennale with Fanciulla nuda, Paese and Natura morta; the following year he exhibited seven works at the Sindacale Fascista del Lazio including Case in collina, Passaggio al livello, Natura morta, Figura and Paese.

Neo-metaphysical Roman and Sicilian urban views.

In the late 1930s the artist came out sharply against Fascism, his son Antonello was wanted by the regime, and so his opposition grew stronger. He is also arrested, almost 60 years old, by the so-called Koch gang who were seeking information about their son. During this period he produced works that depicted the horrors of war.

In the postwar period his subjects change; he devotes himself almost exclusively to bright, clean urban views, devoid of human presence, marked by a clear palette. He narrates Roman corners such as Campo de’ Fiori, Piazza del Popolo or the Capitol, mute and metaphysical panoramas. He also makes canvases dedicated to his Sicily, always deserted and sunny like The House of Prickly Pears and Fonte Ciane. He passed away in Rome in 1961.

Emanuela Di Vivona