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POSTER: FREDERICO SENECA (1891-1976) BUITONI. 1928. 77x54 inches. Leopoldo Baroni, Milan.
FREDERICO SENECA (1891-1976) BUITONI. 1928.
77 1/2x54 1/4 inches. Leopoldo Baroni, Milan.
Condition B: restoration along vertical fold; restored losses in margins; repaired tears, wrinkles and creases in image. Two sheets.
Seneca studied at the School of Fine Art in Rome and began his career as a painter and graphic designer. From 1919-1929 he was the Art Director for the pasta and chocolate combine Perugina-Buitoni. His work "in many ways . . . was the perfect synthesis of [Art Deco, Futurism and Cubism] . . . he created stylized, tubular figures which revealed the influence of Leger and Depero and the whimsical memorability of Cappiello" (http://www.internationalposter.com/it-text.cfm). Here, advertising pasta, he places a nun within a mystical, silent atmosphere. He subtly plays with light and shadow to amplify the religious aspect of the image; suggesting that Buitoni is "The Holy Pasta." It is diametrically opposite other pasta posters, which generally are invitations to gluttony. One of the most interesting Italian posters of the era. Bolaffi p. 205, Weill 476.
77 1/2x54 1/4 inches. Leopoldo Baroni, Milan.
Condition B: restoration along vertical fold; restored losses in margins; repaired tears, wrinkles and creases in image. Two sheets.
Seneca studied at the School of Fine Art in Rome and began his career as a painter and graphic designer. From 1919-1929 he was the Art Director for the pasta and chocolate combine Perugina-Buitoni. His work "in many ways . . . was the perfect synthesis of [Art Deco, Futurism and Cubism] . . . he created stylized, tubular figures which revealed the influence of Leger and Depero and the whimsical memorability of Cappiello" (http://www.internationalposter.com/it-text.cfm). Here, advertising pasta, he places a nun within a mystical, silent atmosphere. He subtly plays with light and shadow to amplify the religious aspect of the image; suggesting that Buitoni is "The Holy Pasta." It is diametrically opposite other pasta posters, which generally are invitations to gluttony. One of the most interesting Italian posters of the era. Bolaffi p. 205, Weill 476.
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