page_title: Basilio Cascella
section_title: Work and style
hierarchical_section_title: Basilio Cascella / Work and style
caption_attribution_description: Italiano: Interno del Monumento ai caduti, tomba di it:Andrea Bafile, ceramiche di Basilio and it:Tommaso Cascella, località Bocca di Valle. Le piastrelle in ceramica che decorano l'interno sono state ristrutturate dal prof.Luigi Bozzelli ceramista e insegnante di Tecnologia Ceramica c/o l'Istituto Statale d'Arte di ChietiEnglish: Inside the Monument, grave of it:Andrea Bafile, paintings of Basilio and it:Tommaso Cascella, locality Bocca di Valle
context_page_description: Basilio Cascella was an Italian artist, active from the late nineteenth century to the mid-twentieth century.
context_section_description: When Cascella was stationed in the military at Pavia in 1880, he met Metardo Rosso and Vincenzo Irolli, and started painting. After moving to Milan, Basilio found Metardo Rosso and met Aleardo Villa, who introduced him to the "Famiglia artistica" ["artistic family"], and began his study of the nude. Works from this period include Ritratto della madre [Portrait of the mother], Ritratto di Vincenzo Irolli [Portrait of Vincenzo Irolli], Allegoria dell'amore [Allegory of love ](watercolor), Testa di arabo [Head of an Arab], and Figura di donna [Figure of a woman] (pastel), all preserved in the Basilio Cascella Civic Museum in Pescara.. Back in Abruzzo in 1883, he frescoed the council chamber of the Municipality of Ortona, which was destroyed in the cannonades of December 1943. The next year he participated in the Italian General Exhibition of Contemporary Art, held in Turin, with the painting Mantello e sottabito inspired by Abruzzo, then was at the 1887 National Art Exhibition in Venice, in London in 1888, and at the 1893 Italian Exhibition in Naples.  l suono e il sonno [Sound and sleep], now preserved in Chieti, was shown at the 1984 Triennial Exhibition of the Academy of Brera in Milan. This work portrays an Arcadian subject, a shepherd who serenades his woman to sleep with the sound of his Zampognabagpipes. The background contains a dream-like portrayal of female nudes. The work is kept in the Pinacoteca Cascella di Ortona in the Palazzo Farnese and subsequently appeared at the Exposition of the Society of Fine Arts of Rome. In 1895–96, Cascella created L'infeconda [The infecund], oil on canvas, presenting a pastoral theme of Abruzzo. In 1903, he finished Il bagno della pastora, preserved in Pescara, for the Venice Biennale, a painting that was not exhibited due to its late arrival. In the same year in Pescara, where he had settled, he started a chromolithographic establishment, giving life to the journal L'illustrazione abruzzese [The illustration of Abruzzo], in collaboration with Vincenzo Bucci and Francesco Paolo Michetti, which was a periodical dedicated to regional art and culture. Between the first and second series of 1905, only 10 issues were published, while in the same period the Cascella was artistic director of Tribuna illustrata [Illustrated Tribune] (1890) and the L'illustrazione meridionale [Southern Illustration] (1900).
  This typographical interest was revived in Basilio in 1914 when in Pescara he was able to print a new magazine, La grande illustrazione [The great illustration], which he directed for a year. The magazine took advantage of the collaboration of Italian and foreign artists, in the first year it was anti-D'Annunzio and anti-Futurist, as far as literature was concerned, and it was also anti-impressionist for the artistic field. The entry of Italy into war overturned the magazine's thematic approach: interventionist, he included among his collaborators Sivilla Aleramo, his sons Michele and Tommaso, then the writings of Luigi Pirandello, Guido Gozzano, Filippo Tommaso Marinetti, the Negri, Baldini, the Sartorio, the Previati, the Irolli, the Spadini, and Umberto Boccioni. From the factory in Pescara, a series of illustrated postcards also came out with special colors and techniques, with which Cascella engraved lithographic stones, preserved in the museum of Pescara (20 in all), large sepia and Siena prints, illustrated tables of the Divine Comedy, and for lithic works such as the Vespri siciliani [Sicilian Vespers] and Othello, illustrations of novels, labels for Abruzzo desserts and liqueurs. Much of the production was exhibited together with the collection of L'illustrazione abruzzese [The Abruzzese Illustration] in the Chieti Art Exhibition in 1905, for which Basilio also produced posters.
  In 1904, Cascella created the etching Ritratto della madre di D'Annunzio [Portrait of the mother of D'Annunzio], donated to the poet on the occasion of the visit to Chieti for the representation of the tragedy La figlia di Iorio [The Daughter of Iorio], and the lithograph Bacio materno [Maternal kiss] p
caption: The shrine of Andrea Bafile in Guardiagrele (1924)
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