{"id":4362,"date":"2026-10-18T18:39:56","date_gmt":"2026-10-18T16:39:56","guid":{"rendered":"https:\/\/www.encyklopediamalarstwa.pl\/?p=4362"},"modified":"2026-10-18T18:41:27","modified_gmt":"2026-10-18T16:41:27","slug":"elementor-4362","status":"publish","type":"post","link":"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/","title":{"rendered":"Gino Severini"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"4362\" class=\"elementor elementor-4362\">\n\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b8020aa e-flex e-con-boxed e-con e-parent\" data-id=\"b8020aa\" data-element_type=\"container\" data-settings=\"{&quot;content_width&quot;:&quot;boxed&quot;}\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f7408c9 elementor-widget elementor-widget-text-editor\" data-id=\"f7408c9\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.18.0 - 08-12-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h2>Gino Severini (1883\u20131966)&nbsp;<\/h2>\n<p>Gino Severini by\u0142 <strong>w\u0142oskim malarzem<\/strong>, jednym z kluczowych przedstawicieli <strong>futuryzmu<\/strong>, a p\u00f3\u017aniej tw\u00f3rc\u0105 \u0142\u0105cz\u0105cym elementy <strong>kubizmu<\/strong>, <strong>neoimpresjonizmu<\/strong>, <strong>neoklasycyzmu<\/strong> i sztuki dekoracyjnej. Jego tw\u00f3rczo\u015b\u0107 stanowi wa\u017cny pomost mi\u0119dzy w\u0142osk\u0105 awangard\u0105 a paryskimi \u015brodowiskami artystycznymi pocz\u0105tku XX wieku.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h3>\ud83e\udded Wczesne \u017cycie i edukacja<\/h3>\n<p>Severini urodzi\u0142 si\u0119 7 kwietnia 1883 roku w Cortonie w Toskanii. Dorasta\u0142 w ubogiej rodzinie; jego ojciec by\u0142 urz\u0119dnikiem s\u0105dowym, a matka krawcow\u0105. W wieku pi\u0119tnastu lat zosta\u0142 wydalony ze szko\u0142y za pr\u00f3b\u0119 kradzie\u017cy arkuszy egzaminacyjnych, co zako\u0144czy\u0142o jego formaln\u0105 edukacj\u0119.<\/p>\n<p>W 1899 roku przeni\u00f3s\u0142 si\u0119 z matk\u0105 do Rzymu, gdzie pracowa\u0142 jako urz\u0119dnik, jednocze\u015bnie ucz\u0105c si\u0119 malarstwa w wolnych chwilach. Dzi\u0119ki wsparciu patrona ucz\u0119szcza\u0142 na zaj\u0119cia w rzymskiej szkole sztuk pi\u0119knych oraz w prywatnej akademii. W tym okresie pozna\u0142 <strong>Umberta Boccioniego<\/strong> i <strong>Giacoma Ball\u0119<\/strong>, kt\u00f3rzy wprowadzili go w technik\u0119 <strong>dywizjonizmu<\/strong>.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h3>\ud83c\udf0d Pary\u017c i kontakty z awangard\u0105<\/h3>\n<p>W 1906 roku Severini osiedli\u0142 si\u0119 w Pary\u017cu, gdzie pozna\u0142 najwa\u017cniejszych tw\u00f3rc\u00f3w europejskiej awangardy: <strong>Picassa<\/strong>, <strong>Braque\u2019a<\/strong>, <strong>Grisa<\/strong>, <strong>Modiglianiego<\/strong>, poet\u00f3w Guillaume\u2019a Apollinaire\u2019a i Paula Forta oraz \u015brodowisko teatralne Lugn\u00e9-Po\u00eb. Studiowa\u0142 malarstwo impresjonistyczne i neoimpresjonistyczne, m.in. pod wp\u0142ywem Paula Signaca.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h3>\u26a1 Futuryzm<\/h3>\n<p>W 1910 roku Severini podpisa\u0142 <strong>Manifest techniczny malarstwa futurystycznego<\/strong>, staj\u0105c si\u0119 jednym z g\u0142\u00f3wnych cz\u0142onk\u00f3w ruchu. W przeciwie\u0144stwie do innych futuryst\u00f3w, kt\u00f3rzy koncentrowali si\u0119 na maszynach i dynamice techniki, Severini wybiera\u0142 <strong>motywy taneczne i sceny nocnego \u017cycia<\/strong>, aby ukaza\u0107 ruch, rytm i energi\u0119 wsp\u00f3\u0142czesno\u015bci.<\/p>\n<p>Do jego najwa\u017cniejszych futurystycznych dzie\u0142 nale\u017c\u0105:<\/p>\n<ul role=\"list\">\n<li>\n<p><em>Dynamic Hieroglyph of the Bal Tabarin<\/em> (1912)<\/p>\n<\/li>\n<li>\n<p><em>Dancer at Pigalle<\/em> (1912)<\/p>\n<\/li>\n<li>\n<p><em>Pan Pan Dance<\/em> (1909\u20131911)<\/p>\n<\/li>\n<li>\n<p><em>Italian Lancers at a Gallop<\/em> (1915)<\/p>\n<\/li>\n<\/ul>\n<p>Severini odegra\u0142 kluczow\u0105 rol\u0119 jako <strong>\u0142\u0105cznik mi\u0119dzy futurystami w\u0142oskimi a parysk\u0105 awangard\u0105<\/strong>, wsp\u00f3\u0142organizuj\u0105c pierwsz\u0105 futurystyczn\u0105 wystaw\u0119 w Galerie Bernheim-Jeune w 1912 roku.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h3>\ud83e\udde9 Kubizm, orfizm i zwrot klasyczny<\/h3>\n<p>Po 1913 roku Severini zacz\u0105\u0142 eksperymentowa\u0107 z <strong>kubizmem syntetycznym<\/strong> oraz <strong>orfizmem<\/strong>, tworz\u0105c dzie\u0142a o bardziej abstrakcyjnej, geometrycznej strukturze, jak <em>Spherical Expansion of Light<\/em> (1914).<\/p>\n<p>W 1921 roku opublikowa\u0142 esej <em>Du cubisme au classicisme<\/em>, w kt\u00f3rym wyrazi\u0142 zwrot ku <strong>klasycznej harmonii<\/strong>, proporcji i figuratywno\u015bci. W tym okresie powstaj\u0105 prace inspirowane <strong>commedia dell\u2019arte<\/strong>, a tak\u017ce liczne <strong>martwe natury<\/strong>.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h3>\ud83c\udfdb\ufe0f Sztuka dekoracyjna: freski i mozaiki<\/h3>\n<p>Od lat 20. Severini coraz cz\u0119\u015bciej pracowa\u0142 jako tw\u00f3rca dekoracji \u015bciennych, realizuj\u0105c freski i mozaiki w:<\/p>\n<ul role=\"list\">\n<li>\n<p>zamku Montefugoni (1922)<\/p>\n<\/li>\n<li>\n<p>ko\u015bciele w Semsales (1924\u20131926)<\/p>\n<\/li>\n<li>\n<p>ko\u015bciele Notre-Dame du Valentin w Lozannie<\/p>\n<\/li>\n<li>\n<p>Palazzo della Triennale w Mediolanie (1933)<\/p>\n<\/li>\n<li>\n<p>Uniwersytecie w Padwie<\/p>\n<\/li>\n<li>\n<p>Foro Mussolini w Rzymie (1937)<\/p>\n<\/li>\n<\/ul>\n<p>W tym czasie prze\u017cy\u0142 r\u00f3wnie\u017c kryzys religijny, kt\u00f3ry doprowadzi\u0142 go do pe\u0142nej akceptacji katolicyzmu w 1923 roku.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h3>\ud83d\udd04 P\u00f3\u017ana tw\u00f3rczo\u015b\u0107<\/h3>\n<p>Po II wojnie \u015bwiatowej Severini osiad\u0142 w Meudon pod Pary\u017cem. Powr\u00f3ci\u0142 do <strong>abstrakcji geometrycznej<\/strong>, \u0142\u0105cz\u0105c j\u0105 z do\u015bwiadczeniami kubizmu i futurystycznej dynamiki. W latach 50. zn\u00f3w podejmowa\u0142 temat <strong>tancerek, \u015bwiat\u0142a i ruchu<\/strong>, reinterpretuj\u0105c swoje dawne motywy.<\/p>\n<p>Zmar\u0142 26 lutego 1966 roku w Pary\u017cu. Pochowano go w rodzinnej Cortonie.<\/p>\n<div class=\"relative pb-6 w-full after:border-b after:border-stroke-300 after:w-full after:absolute after:mt-3\">&nbsp;<\/div>\n<h2>\ud83d\uddbc\ufe0f Styl i znaczenie<\/h2>\n<p>Tw\u00f3rczo\u015b\u0107 Severiniego wyr\u00f3\u017cnia:<\/p>\n<ul role=\"list\">\n<li>\n<p><strong>synteza futurystycznej dynamiki i kubistycznej struktury<\/strong>,<\/p>\n<\/li>\n<li>\n<p><strong>zami\u0142owanie do rytmu, ruchu i ornamentu<\/strong>,<\/p>\n<\/li>\n<li>\n<p><strong>eksperymenty z technikami dekoracyjnymi<\/strong>,<\/p>\n<\/li>\n<li>\n<p><strong>rola mediatora mi\u0119dzy w\u0142osk\u0105 i francusk\u0105 awangard\u0105<\/strong>,<\/p>\n<\/li>\n<li>\n<p><strong>wa\u017cny wk\u0142ad teoretyczny<\/strong> w rozw\u00f3j sztuki XX wieku.<\/p>\n<\/li>\n<\/ul>\n<p>Jego prace znajduj\u0105 si\u0119 dzi\u015b w najwa\u017cniejszych muzeach \u015bwiata, m.in. MoMA, Guggenheim, Philadelphia Museum of Art i wielu kolekcjach europejskich.<\/p>\n<div>&nbsp;<\/div>\n<h2>\ud83d\udcda Bibliografia<\/h2>\n<ul role=\"list\">\n<li>\n<p><em>Gino Severini \u2013 Wikipedia<\/em> (ang.)<\/p>\n<\/li>\n<li class=\"ps-2\">\n<p><em>Gino Severini \u2013 Wikipedia, wolna encyklopedia<\/em> (pl.)<\/p>\n<\/li>\n<li class=\"ps-2\">\n<p><em>Gino Severini \u2013 Encyclopaedia Britannica<\/em><\/p>\n<\/li>\n<li class=\"ps-2\">\n<p><em>Severini, Gino \u2013 Enciclopedia Treccani<\/em><\/p>\n<\/li>\n<li class=\"ps-2\">\n<p><em>Peggy Guggenheim Collection \u2013 Gino Severini<\/em><\/p>\n<\/li>\n<\/ul>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-bbb6bef e-flex e-con-boxed e-con e-parent\" data-id=\"bbb6bef\" data-element_type=\"container\" data-settings=\"{&quot;content_width&quot;:&quot;boxed&quot;}\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7f63536 elementor-widget elementor-widget-image\" data-id=\"7f63536\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.18.0 - 08-12-2023 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"614\" height=\"800\" src=\"https:\/\/www.encyklopediamalarstwa.pl\/wp-content\/uploads\/2026\/10\/Study-for-Sea-Dancer-1913.jpg\" class=\"attachment-large size-large wp-image-4364\" alt=\"Study for Sea = Dancer (1913)\" srcset=\"https:\/\/www.encyklopediamalarstwa.pl\/wp-content\/uploads\/2026\/10\/Study-for-Sea-Dancer-1913.jpg 614w, https:\/\/www.encyklopediamalarstwa.pl\/wp-content\/uploads\/2026\/10\/Study-for-Sea-Dancer-1913-230x300.jpg 230w, https:\/\/www.encyklopediamalarstwa.pl\/wp-content\/uploads\/2026\/10\/Study-for-Sea-Dancer-1913-585x762.jpg 585w\" sizes=\"(max-width: 614px) 100vw, 614px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Gino Severini (1883\u20131966)&nbsp; Gino Severini by\u0142 w\u0142oskim malarzem, jednym z kluczowych przedstawicieli futuryzmu, a p\u00f3\u017aniej tw\u00f3rc\u0105 \u0142\u0105cz\u0105cym elementy kubizmu, neoimpresjonizmu, neoklasycyzmu i sztuki dekoracyjnej. Jego tw\u00f3rczo\u015b\u0107 stanowi wa\u017cny pomost mi\u0119dzy&hellip;<\/p>\n","protected":false},"author":1,"featured_media":4364,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"content-type":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[122,74,123,88,124],"tags":[42],"class_list":["post-4362","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-futuryzm","category-kubizm","category-neoimpresjonizm","category-neoklasycyzm","category-orfizm","tag-wloski-malarz"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Gino Severini - Encyklopedia Malarstwa<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gino Severini\" \/>\n<meta property=\"og:description\" content=\"%\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/\" \/>\n<meta property=\"og:site_name\" content=\"Encyklopedia Malarstwa\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-18T16:39:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-18T16:41:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.encyklopediamalarstwa.pl\/wp-content\/uploads\/2026\/10\/Study-for-Sea-Dancer-1913.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"614\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minuty\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/www.encyklopediamalarstwa.pl\/#\/schema\/person\/1a6b3ac5c26a28667ef7613105b7c5d6\"},\"headline\":\"Gino Severini\",\"datePublished\":\"2026-10-18T16:39:56+00:00\",\"dateModified\":\"2026-10-18T16:41:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/\"},\"wordCount\":602,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.encyklopediamalarstwa.pl\/#\/schema\/person\/1a6b3ac5c26a28667ef7613105b7c5d6\"},\"keywords\":[\"w\u0142oski malarz\"],\"articleSection\":[\"Futuryzm\",\"Kubizm\",\"Neoimpresjonizm\",\"Neoklasycyzm\",\"Orfizm\"],\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/\",\"url\":\"https:\/\/www.encyklopediamalarstwa.pl\/index.php\/2026\/10\/18\/elementor-4362\/\",\"name\":\"Gino Severini - 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