Coromaldi Umberto

Umberto Coromaldi quotations

Umberto Coromaldi’s oil paintings are quoted at an average price ranging between 900 and 5,500 euros. His most significant works, particularly those from the 1910s linked to the Roman Secession or the canvases from the 1920s dedicated to the Roman countryside, fetch higher prices, ranging from €4,500 to €9,500, with higher peaks for large-format paintings with remarkable chromatic intensity.

As for watercolours and mixed media on paper, average values range between €300 and €1,800, with fluctuations determined by the quality and complexity of the subject represented.

Since the valuation of a work of art is influenced by numerous factors (period, size, subject, technique, conservation), we invite you to request a free and accurate valuation of your work by Umberto Coromaldi from our experts.

Biography

Umberto Coromaldi was born in Rome in 1870 and received his first lessons from his stepfather Filippo Indoni, a watercolourist. Noticing his stepson’s talent, Indoni enrolled him at the Academy of Fine Arts in Rome, where he studied under Filippo Prosperi. He made his debut at the National Exhibition of Fine Arts in Rome with Ritratto (Portrait) and Racconto allegro (Cheerful Story), paintings that were still immature but nevertheless anticipated Coromaldi’s style and his preference for lively genre scenes drawn from everyday life.

The Roman countryside: a bright and evocative palette

In 1894, he presented Ritorno dei naufraghi (Return of the Shipwrecked) to the Società degli Amatori e Cultori, a work that enabled him to win an artistic scholarship and undertake a series of study trips in Europe. The next step towards artistic maturity came when he frequented Antonio Mancini’s studio, from which he drew a preference for a brighter and more varied palette and the ability to render the scenes depicted energetic and lively.

His themes were those of reality, set in domestic interiors, in popular and rural settings, always treated with a clear attention to truth. He participated in the 1901 Florentine Exhibition with Nella birreria (In the Beer Hall) and Tristezza (Sadness), while in Rome, in the same year, he exhibited Il pecoraio (The Shepherd) and Scena campestre (Country Scene). In 1903, he took part in the Venice Biennale with La vela (The Sail) and Lo specchio e la donna (The Mirror and the Woman) and in 1905 with Primi successi (First Successes) and Nella solitudine (In Solitude). Being well versed in the technique of watercolour, also in 1905, he joined the Society of Watercolourists of Rome, exhibiting at their exhibitions until 1915.

Exhibition success

In the first decade of the 20th century, Coromaldi developed a particular sensitivity for the Roman countryside, as can be seen in the paintings he exhibited in Milan in 1906: La nutrice – Monte Sabino, Alla fontana – sui Monti Sabini, Gli amici – Monti Sabini and Frattaroli. These genre scenes, very intimate and treated with a certain poetry, also thanks to the felicitous colour combinations, appeared at the 1907 Biennale, with Ninna nanna, Il figlio and Nella capanna.

The theme of fatigue, of work in the fields, captured with an evocative, melancholic vein, but closely linked to reality, recurs throughout his work dedicated to landscape studies. It is no coincidence that at the beginning of the 20th century, with the nickname “Cefalo”, he joined the group of XXV della Campagna romana.

L’ovile in montagna (The sheepfold in the mountains) appeared at the National Exhibition in Rome in 1911, where Coromaldi was also responsible for decorating the Fishing Pavilion with emblems related to fishing. He participated regularly in the Venice Biennale: in 1912 he exhibited On the Way to the Spring, in 1920 Summer and Black and White, in 1922 At the Manger and At the Sheepfold, and finally in 1924 Hours of Peace and Green Harmonies.

Not to be forgotten are his participations in the exhibitions of the Roman Secession in 1913, 1914 and 1915, where he presented works of great lyrical impact such as Ritorno dalla mietitura (Return from the Harvest) and Mattino d’estate (Summer Morning). He continued to paint and participate in mainly Roman exhibitions until the 1930s, such as the first and second Rome Quadriennale, where he exhibited Alpine Village, Little Girl and Siesta in the Chicken Coop. After his appointment as president of the Academy of San Luca, he died in Rome in 1948.