Omero Taddeini (Montespertoli 1901 – ?), The turreted marching Italy
Bronze sculpture cm 57 x 36 x 32 signed (TADDEINI) on the base.
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Born in Montespertoli (Florence) in 1901, Omero Taddeini dedicated himself initially to the study of the music, getting a passable academic success: indeed, he was graduated at Musical Institute “Cherubini” situated in his born city. Moved to Siena in 1923, he dealt with sculpture, leaving soon his youth passion, the music, to which he preferred, since that moment ahead, the sculpture. Settled in Rome, he obtained great results attending the Art School of Medal and at the Mint. Among his most important sculptures, there are the monumental marble sculpture, tall about 4 metres, of the winning Hercules situated in the Stadio dei Marmi within Foro Italico in Rome, and a monument dedicated to Cristoforo Colombo made in Haiti, today lost.
Winner of several sculpture and medal competitions, he took part to several national and international exhibitions esposizioni, as the 22th Venice Biennial in 1940, where he brought on display twenty-two medals. His artworks are on display in museums, public buildings and private collections spread out both in Italy and abroad, in particular in Bari (stone pedestal of the voluntary militia barracks, called “Pinerolo”), Milan, Rome, Naples, Salerno (two remarkable bronze reliefs for the Liberty monument Liberty to Arturo De Felice), Sulmona (two panels depicting Ovidius and pope Celestino V, placed in the Marcone palace) in Tuscany, in Albania and in Libya.
Active within renovatio imperii’s environment inspired by Fascism (the Florentine sculptor wrote however two important essays about the iconographic programme of the regime, “I nuovi valori”, edited in 1930 and “Arte fascista: Arte per la Massa”, edited in 1935), Taddeini, with admirable style sense, was able to adopt different historical shapes, archaic, Etruscan, Romanesque, avoiding lose the invention’s originality and e the shape’s vitality.
This fact is demonstrated by the sculptural group showed here, an allegory of towered Italy, in which the solemn and hieratic figure of the national personification, given by a Junoesque woman with the haed surrounded by a crown completed by towers, the fascist emblem hold by the right hand, is followed by a profile of a strong male nude, blocked in his solemn gait.