Description
Physical description
1
Silk scarf depicting British and Italian soldiers with Victory standing behind them
Label
The scarf was part of the fundraising efforts on 'Italian Day', on October 7, 1915. Italian organizations in London were seeking to support their allies in the war, and used the presentation of the art from Signor Fortunino Matania to the Italian Red Cross Society to help. The image, 'Pro Italia,' was made into a souvenir scarf which was sold on the streets of London on the above date. It first appeared in The Sphere, on the front cover of Volume LXII No. 814 on August 28, 1915. The Italian Red Cross maintained copyright.
Fortunino Matania was born on April 16, 1881 in Naples, the son of Eduardo Matania (1847-1929), a leading light of the Neapolitan Posilipa School. From the very beginning, he was inspired by classical times and events. Undoubtedly, as a boy, the excavations of Pompeii stimulated him; on many of the uncovered walls were scenes of day to day life in the doomed city. In his many sketches, the young Matania attempted to bring them to life. This was to prove an excellent grounding for what was to come. When he began his professional career, the reproduction of news photographs was still in the experimental stage. Illustrated magazines relied on skilled artist reporters to interpret events for their readers and Eduardo Matania was the special artist covering northern Italy for L'Illustrazione. When the editors in Milan began to receive drawings signed Fortunino Matania, they smiled tolerantly and wrote to Eduardo that it was a good joke, but impossible. The boy was far too young. A few days later, fourteen year old Fortunino walked shyly into the Milan office and with pencil and paper demonstrated that it was no joke. He was hired on the spot.
At the age of twenty he was working for Illustration Francaise in Paris and for The Graphic in London. He returned to Italy for a period of military service, but made his way back to London to work for The Sphere.
During the First World War he became a war artist, and visited the fronts several times. He produced several hundred war pictures, showing the soldiers in Belgium and France, as well as Italy and Turkey. The quality is that of a true illustrator, as his training made him. In style, it is full of near-Victorian sentiment, executed with extraordinary finish and detail, and consequently of broad mass appeal. He was very concerned with accuracy; to the amazement of his neighbours, he built a reconstruction of the trenches in his garden at Potter's Bar, while the War Office provided him with military equipment to work from.
One hundred and seventeen of his pictures were reproduced in The Sphere throughout the war, 'Pro Italia' being one. Matania exhibited at the Royal Academy from 1918, in major London exhibitions and in Italy. Many of his paintings are in regimental collections. He was also made a Chevalier of the Crown of Italy in 1918.
History note
The scarf was part of the fundraising efforts on 'Italian Day', on October 7, 1915. Italian organizations in London were seeking to support their allies in the war, and used the presentation of the art from Signor Fortunino Matania to the Italian Red Cross Society to help. The image, 'Pro Italia,' was made into a souvenir scarf which was sold on the streets of London on the above date. It first appeared in The Sphere, on the front cover of Volume LXII No. 814 on August 28, 1915. The Italian Red Cross maintained copyright.
Fortunino Matania was born on April 16, 1881 in Naples, the son of Eduardo Matania (1847-1929), a leading light of the Neapolitan Posilipa School. From the very beginning, he was inspired by classical times and events. Undoubtedly, as a boy, the excavations of Pompeii stimulated him; on many of the uncovered walls were scenes of day to day life in the doomed city. In his many sketches, the young Matania attempted to bring them to life. This was to prove an excellent grounding for what was to come. When he began his professional career, the reproduction of news photographs was still in the experimental stage. Illustrated magazines relied on skilled artist reporters to interpret events for their readers and Eduardo Matania was the special artist covering northern Italy for L'Illustrazione. When the editors in Milan began to receive drawings signed Fortunino Matania, they smiled tolerantly and wrote to Eduardo that it was a good joke, but impossible. The boy was far too young. A few days later, fourteen year old Fortunino walked shyly into the Milan office and with pencil and paper demonstrated that it was no joke. He was hired on the spot.
At the age of twenty he was working for Illustration Francaise in Paris and for The Graphic in London. He returned to Italy for a period of military service, but made his way back to London to work for The Sphere.
During the First World War he became a war artist, and visited the fronts several times. He produced several hundred war pictures, showing the soldiers in Belgium and France, as well as Italy and Turkey. The quality is that of a true illustrator, as his training made him. In style, it is full of near-Victorian sentiment, executed with extraordinary finish and detail, and consequently of broad mass appeal. He was very concerned with accuracy; to the amazement of his neighbours, he built a reconstruction of the trenches in his garden at Potter's Bar, while the War Office provided him with military equipment to work from.
One hundred and seventeen of his pictures were reproduced in The Sphere throughout the war, 'Pro Italia' being one. Matania exhibited at the Royal Academy from 1918, in major London exhibitions and in Italy. Many of his paintings are in regimental collections. He was also made a Chevalier of the Crown of Italy in 1918.
Printed
F Matania 1915