Emilio Scanavino (Genoa, 28 February 1922 – Milan, 28 November 1986) was an Italian painter and sculptor.In 1938 the young Scanavino enrolled to the Art School Nicolò Barabino of Genoa where he met his teacher Mario Calonghi, who had a great influence on Scanavino’s first formation. In 1942 he had his first exhibition at the Salone Romano of Genoa. In the same year he enrolled at the Faculty of Architecture at Milan University. In 1946 he married Giorgina Graglia.
In 1947 Scanavino moved, for the first time, to Paris where he met poets and artists such as Edouard Jaguer, Wols and Camille Bryen. This experience results invaluable on his stylistic grown. He especially assimilated Cubism echoes which he rendered into a personal interpretation since 1948 when he exhibited at the Gallery Isola of Genoa. In the '50 years He was part of the Group "I sette del Numero" of the Numero Gallery in Florence, together the other famous painter Rocco Borella. In 1950 he exhibited at the 25th edition of the Venice Biennale and in 1951 at the Apollinaire Gallery of London in a two-person exhibition with the sculptor Sarah Jackson.
In 1947 Scanavino moved, for the first time, to Paris where he met poets and artists such as Edouard Jaguer, Wols and Camille Bryen. This experience results invaluable on his stylistic grown. He especially assimilated Cubism echoes which he rendered into a personal interpretation since 1948 when he exhibited at the Gallery Isola of Genoa. In the '50 years He was part of the Group "I sette del Numero" of the Numero Gallery in Florence, together the other famous painter Rocco Borella. In 1950 he exhibited at the 25th edition of the Venice Biennale and in 1951 at the Apollinaire Gallery of London in a two-person exhibition with the sculptor Sarah Jackson.
During the sojourn in London he met Philip Martin, Eduardo Paolozzi, Graham Sutherland and Francis Bacon. In the same year he opened his first studio in Milan in an attic of the Foro Bonaparte. Critic Guido Ballo and gallery managers Guido Le Noci and Arturo Schwartz took care of his works.
Next year, 1952, he also worked at Marzotti’s Ceramic Factory in Albissola Marina, where he met many artists and became friends with some of them. Among them there were Lucio Fontana, Asger Jorn, Corneille, Roberto Matta, Wifredo Lam, Giuseppe Capogrossi, Enrico Baj, Sergio Dangelo, Roberto Crippa, Gianni Dova, Agenore Fabbri, Aligi Sassu etc.
In 1954 he exhibited again at the Venice Biennale (27th edition) and next year he received the Graziano Prize. In 1958 he earned Lissone Prize and joined Venezia Biennale with an own room, winning the Prampolini Prize. In the same year he signed a contract with the Naviglio Gallery directed by Carlo Cardazzo with whom he established an important friendship and working relation. He then moved to Milan with his family. Many critics took care of his works. Among them: Enrico Crispolti, Guido Ballo, Giampiero Giani, Edouard Jaguer, Gillo Dorfles, Roberto Sanesi, Franco Russoli and Alain Jouffroy.Wikipedia
Next year, 1952, he also worked at Marzotti’s Ceramic Factory in Albissola Marina, where he met many artists and became friends with some of them. Among them there were Lucio Fontana, Asger Jorn, Corneille, Roberto Matta, Wifredo Lam, Giuseppe Capogrossi, Enrico Baj, Sergio Dangelo, Roberto Crippa, Gianni Dova, Agenore Fabbri, Aligi Sassu etc.
In 1954 he exhibited again at the Venice Biennale (27th edition) and next year he received the Graziano Prize. In 1958 he earned Lissone Prize and joined Venezia Biennale with an own room, winning the Prampolini Prize. In the same year he signed a contract with the Naviglio Gallery directed by Carlo Cardazzo with whom he established an important friendship and working relation. He then moved to Milan with his family. Many critics took care of his works. Among them: Enrico Crispolti, Guido Ballo, Giampiero Giani, Edouard Jaguer, Gillo Dorfles, Roberto Sanesi, Franco Russoli and Alain Jouffroy.Wikipedia
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