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Felice Casorati

Il sogno del melograno

Felice Casorati

"Il sogno del melograno", 1912, Felice Casorati

Felice Casorati
Biografia

Felice Casorati (Novara, 4 dicembre 1883 – Torino, 1º marzo 1963) è stato un pittore, incisore, designer, scenografo e docente italiano.

 

La carriera militare del padre Francesco lo costringe a continui trasferimenti: vive a Milano, Reggio Emilia e Sassari. In quest’ultima città il padre si presta, per passione, ad affrescare un edificio degli ufficiali, tramandando al figlio la sua sensibilità artistica. La famiglia si trasferisce poi a Padova dove Felice svolge gli studi liceali e coltiva la sua attitudine musicale.
Nel 1901, in seguito ad un esaurimento nervoso, è costretto ad un periodo di riposo sui colli Euganei; qui comincia per la prima volta a dipingere, affinando poi la tecnica presso l’artista Giovanni Vianello.

Nel 1907 si laurea in Giurisprudenza all’Università di Padova; sceglie tuttavia di dedicarsi alla carriera artistica. Tra il 1907 e 1910 è a Napoli dove si dedica alla pittura e studia in modo particolare le opere di Pieter Brueghel il Vecchio nella collezione del Museo Nazionale. Nello stesso anno espone per la prima volta alla Biennale di Venezia, ammesso grazie a un ritratto della sorella Elvira, Ritratto di signora. Torna nuovamente alla Biennale del 1909 e del 1910; in questa occasione ha la possibilità di osservare le opere di Gustav Klimt che influenzeranno alcuni dei suoi dipinti successivi, come Il sogno del melograno, presentato alla Prima Esposizione Internazionale d’Arte della Secessione a Roma nel 1913.

Tra il 1911 e il 1915 vive a Verona dove fonda con altri artisti la rivista La Via Lattea, alla quale collabora con illustrazioni in stile Art nouveau alla maniera di Jan Toorop e Aubrey Beardsley. Durante gli ultimi anni è vicino agli artisti di Ca’ Pesaro: Arturo Martini, Gino Rossi, Umberto Moggioli, Pio Semeghini.

Arruolato nell’esercito nel 1915, prenderà parte alla Prima guerra mondiale.
Dopo la morte del padre nel 1917 si trasferisce con la famiglia a Torino, divenendo ben presto una figura centrale nei circoli intellettuali della città. Frequenta il compositore Alfredo Casella con cui condivide la passione per la musica, testimoniata anche dal figlio che in un’intervista afferma “Verso sera per tutta la vita dedicò almeno mezz’ora al pianoforte, suonava per sé e non per gli altri, sovente a quattro mani con mia madre” Stringe rapporti di amicizia con Piero Gobetti, aderendo nel 1922 al gruppo antifascista della “Rivoluzione Liberale”, e per questo viene arrestato e dopo pochi giorni rilasciato. Nel 1923 lo stesso Gobetti gli dedica una biografia.

In questi stessi anni apre nel suo studio di Torino la “Scuola di Casorati”, luogo di insegnamento per giovani artisti. Con i suoi allievi espone nel 1929 alla mostra “Casorati fra i discepoli”, accompagnata da un testo di Giacomo Debenedetti in cui sono ricordati, tra gli allievi, Silvio Avondo, Nella Marchesini, Daphne Maugham, Marisa Mori, Andrea Cefaly junior, Sergio Bonfantini, Giuseppina Ferraris, Albino Galvano, Paola Levi Montalcini, Lalla Romano, Riccardo Chicco.

Nel suo ruolo di insegnante forma artisti come Francesco Menzio, Carlo Levi, Gigi Chessa e Jessie Boswell, che in seguito entreranno a far parte del gruppo dei “Sei pittori di Torino”. Figurano tra i suoi studenti anche i pittori piemontesi Enrico Accatino e Caty Torta, e la pittrice modenese Ida Donati Formiggini, moglie del deputato socialista Pio Donati.

Nel 1924 tiene una mostra personale alla Biennale di Venezia, accompagnata da un saggio di presentazione del critico d’arte Lionello Venturi. Nel 1925 figura tra i fondatori della Società di Belle Arti Antonio Fontanesi, con lo scopo di promuovere mostre di artisti italiani e stranieri dell’Ottocento e contemporanei. Tra il 1923 e il 1925 realizza il progetto di recupero del Teatro di Torino con Gigi Chessa e Riccardo Gualino. Da quest’ultimo riceve l’incarico di decorare un piccolo teatro privato in via Galliari assieme all’architetto Alberto Sartoris. Il teatro venne inaugurato nell‘aprile del 1925 e resta aperto fino al 1929.

Alla III Biennale delle arti decorative organizzata dall’ISIA di Monza nel 1927 collabora nuovamente con Sartoris per il padiglione piemontese; progetta inoltre l’atrio della Mostra dell’architettura alla Triennale di Milano del 1933. Viene chiamato dalla storica dell’arte Margherita Sarfatti per partecipare alle mostre del Novecento italiano nel 1926 e nel 1929; si mantiene tuttavia autonomo rispetto a questo movimento artistico.

Nel 1930 sposa la britannica Daphne Maugham, che frequentava la sua scuola dal 1926; il figlio dei due, Francesco, diventerà a sua volta pittore. Nel 1935 lo studio di Casorati ed Enrico Paulucci ospita la “Prima mostra collettiva d’arte astratta italiana”, comprendente opere di Licini, Melotti e Fontana. Vince il Gran Premio per la pittura alla XXI Biennale di Venezia nel 1938. Riceve riconoscimenti ufficiali anche alle grandi esposizioni di Parigi, Pittsburgh e San Francisco alla fine degli anni trenta.

Dal 1933 al 1954 si occupa di scenografia. Il primo impegno è per l’allestimento dello spettacolo “La vestale” di Spontini al Maggio Musicale Fiorentino, alla stessa stagione lavorano ad altri spettacoli Giorgio de Chirico e Marco Sironi. Complessivamente firma le scenografie di 21 spettacoli, alcuni dei quali commissionati dal Teatro alla Scala di Milano e dal Teatro dell’Opera di Roma.

Nel 1941 gli viene assegnata la cattedra di Pittura all’Accademia Albertina di Torino, ne diventa direttore nel 1952 e poi presidente nel 1954. All’accademia ha numerosi allievi, tra i quali il figlio Francesco, Nino Aimone, lo scultore Romano Campagnoli, Mauro Chessa, Francesco Tabusso, Marcolino Gandini, Gianluigi Mattia, Alice Psacaropulo e molti altri. La fama che lo circonda induce l’imprenditore Giuseppe Verzocchi a contattarlo alla fine degli anni quaranta per contribuire alla sua collezione sul lavoro nella pittura contemporanea. Nel 1952 tiene una personale alla Biennale, e con Ottone Rosai riceve il premio speciale della Presidenza.

Nel 1955 contribuisce al lancio della Fiat 600 con un quadro di grandi dimensioni, che raffigura in primo piano la macchina simbolo della Torino industriale.

Muore il primo marzo 1963 dopo venti giorni dall’amputazione della sua gamba sinistra a seguito di un’embolia.

 

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