My idea of a master's work . . . Fortunino Matania

[Terry Doyle]

 

Caesar and the Pope

 

1930s

 

A large 18" x 13" image size, pencil & ink wash

 

Latest addition to my collection!

 

Had my eye on this beauty for some time, but my priorities these past few years have lay in my house move.

 

With that out of the way, I find myself easing back into old collecting habits.

 

For anyone unfamiliar with Matania's work, here's a write-up I lifted from the internet:

 

Chevalier Fortunino Matania (16 April 1881 - 8 February 1963) was an Italian artist noted for his realistic portrayal of historical subjects, including nude women.

 

Born in Naples, the son of artist Eduoardo Matania, Fortunino Matania studied at his father's studio, designing a soap advertisement at the age of 9 and exhibiting his first work at Naples Academy at 11. By the age of 14 he was helping his father produce illustrations for books and magazines. His talent was recognised by the editor of the Italian periodical L'Illustrazione Italiania and Matania produced weekly illustrations for the magazine between 1895 and 1902.

 

At the age of 20, Matania began working in Paris for Illustration Francaise and, in 1902, was invited to London to cover the Coronation of Edward VII for The Graphic. Matania would subsequently cover every major event – marriage, christening, funeral and Coronation – of British royalty up to the coronation of Queen Elizabeth in 1953.

 

In 1904, Matania joined the staff of The Sphere where some of his most famous work was to appear, including his illustrations of the sinking of the Titanic in 1912. Around 1906-1910 he painted the life in the lobby of the Roman Hotel Excelsior.

 

At the outbreak of the First World War, Matania became a war artist and was acclaimed for his graphic and realistic images of trench warfare. His painting for the Blue Cross entitled Goodbye, Old Man, showing a British soldier saying farewell to his dying horse, is a fine example of his emotive work.

 

But it was after the war, when he switched to scenes of ancient high life for the British woman's magazine, Britannia and Eve, that Matania found his real career. He filled his London studio with reproductions of Roman furniture, pored over history books for suitably lively subjects. Then, with the help of models and statues, he began to paint such subjects as Samson & Delilah, the bacchanalian roisters of ancient Rome, and even early American Indian maidens—all with the same careful respect for accuracy and detail he had used in his news assignments.

 

Generally he managed to include one or two voluptuous nudes in each picture. "The public demanded it," says Matania. "If there was no nude, then the editor or I would get a shower of letters from readers asking politely why not." He was a standard in Britannia and Eve for 19 years.

 

Matania exhibited regularly at the Royal Academy and Royal Institute from 1908 and his work appearing in most of the principal magazines in Britain and America, including Illustrated London News, London Magazine, Nash's, Printer's Pie and others. When Britannia and Eve was launched in 1929, Matania became one of its first contributors. For 19 years, he wrote and illustrated historical stories for the magazine. His talents made him a popular illustrator for advertising, posters and catalogues, working for Ovaltine, Burberry's (the sporting outfitters) and many others. Matania was also recommented to Hollywood director Cecil B. DeMille and produced a number of paintings of Rome and Egypt from which authentic designs could be made for the movie The Ten Commandments.

 

Towards the end of his life, Matania illustrated features for the educational weekly Look and Learn and was working on the series A Pageant of Kings at the time of his death.

 

 

[comix4fun]

That's a beauty...did you pick that up for yourself?

[Terry Doyle]

That's a beauty...did you pick that up for yourself?

 

Yep, arrived this morning, thanks!

 

 

[Terry Doyle]

That's a beauty...did you pick that up for yourself?

 

Yep, arrived this morning, thanks!

 

 

Wot . . . no more love for Matania???

 

Is this group populated by an abundance of Lichtenstein-lovers or something???

[markseifert]

That's a beauty...did you pick that up for yourself?

 

Yep, arrived this morning, thanks!

 

 

Wot . . . no more love for Matania???

 

Is this group populated by an abundance of Lichtenstein-lovers or something???

 

Your post prompted me to do a little googling and I'm glad I did. Amazing stuff. Wish I could find a larger version of this illustration from an Edgar Rice Burrows novel:

 

 

His wartime illustrations are incredible.

 

 

[Bronty]

That's a beauty...did you pick that up for yourself?

 

Yep, arrived this morning, thanks!

 

 

Wot . . . no more love for Matania???

 

Is this group populated by an abundance of Lichtenstein-lovers or something???

 

not familiar with him. Would be interested in seeing more though

 

that gas mask/ trench warfare one is brilliant and creepy at the same time

[markseifert]

not familiar with him. Would be interested in seeing more though

 

that gas mask/ trench warfare one is brilliant and creepy at the same time

 

It does seem to be pretty intriguing work. I can only imagine the impact this stuff had being published during WWI.

 

[comix4fun]

That's a beauty...did you pick that up for yourself?

 

Yep, arrived this morning, thanks!

 

 

Wot . . . no more love for Matania???

 

Is this group populated by an abundance of Lichtenstein-lovers or something???

 

 

I'd love to know more. Is there anywhere online that sells or has sold his artwork?

[markseifert]

1932 newsreel of Matania at work:

 

http://www.britishpathe.com/record.php?id=17416

 

 

[Terry Doyle]

That's a beauty...did you pick that up for yourself?

 

Yep, arrived this morning, thanks!

 

 

Wot . . . no more love for Matania???

 

Is this group populated by an abundance of Lichtenstein-lovers or something???

 

 

I'd love to know more. Is there anywhere online that sells or has sold his artwork?

 

Anthony Smith has some Matanias for sale on CAF. For example:

 

 

One of the more expensive originals from Anthony, but there are other more affordable examples.

 

Geoff West of the Book Palace (over here in the UK) has some originals for sale. I bought my one from Geoff.

 

Prints of his more famous artworks are available for sale (a search of the internet will yield lots of results)

 

Al Williamson and Roy Krenkel were Matania admirers.

[Nexus]

First off, congratulations. And thanks for the introduction to Matania...I had not heard of him before. Great stuff.

 

Wot . . . no more love for Matania???

 

I'm not surprised at the indifference. No capes, no boobs = no love. What should be sobering for all of us as collectors is the realization that as skilled as this artist was, less than 50 years after his death, few people seem to care. He's just about forgotten. And it's not like he was an undiscovered talent...he was published. I would say that doesn't bode well for much of the art we buy solely for the artist.

 

I took a look at Anthony Smith's offerings and for the most part, the prices are comparable to a con sketch from a name artist, or a nice panel page. The two most expensive pieces are still less than some modern covers. That's a bit of perspective to me.

[Cimm]

 

THAT is AWESOME! And, yeah, Nexus, definitely food for thought.

[delekkerste]

First off, congratulations. And thanks for the introduction to Matania...I had not heard of him before. Great stuff.

 

Wot . . . no more love for Matania???

 

I'm not surprised at the indifference. No capes, no boobs = no love. What should be sobering for all of us as collectors is the realization that as skilled as this artist was, less than 50 years after his death, few people seem to care. He's just about forgotten. And it's not like he was an undiscovered talent...he was published. I would say that doesn't bode well for much of the art we buy solely for the artist.

 

I took a look at Anthony Smith's offerings and for the most part, the prices are comparable to a con sketch from a name artist, or a nice panel page. The two most expensive pieces are still less than some modern covers. That's a bit of perspective to me.

 

If it were just about the quality of the art, the most valuable and admired comic art would not necessarily be that which is so today. Instead, it's much to do with the content, characters, storyline, time period, nostalgia...as well as dealer/auction house/fanboy hype and collectors willing to buy into certain ideas and notions, along with all the money, speculation, egos and bragging rights that go along with that. For all the criticism about the greed and babbling nonsense in the fine art world, the reality is that our little hobby is not that much different on a smaller scale.

 

Matania appears to have been a very skilled draftsman, but that doesn't necessarily equate to being a "great artist" in my book (though I certainly admire quality draftsmanship as much or more than the next guy). Drawing is a technical skill that has been mastered by far more people, many/most of whom never become famous, than people here seem to realize. While it can be impressive, generally speaking, it doesn't have the lasting impact that a great concept or idea has.

 

One poster asked what impact Matania's art must have had during WW I. My guess is not that much (especially with photographs and newsreels capturing more than realistic illustrators could), and undoubtedly a lot less than the fine art movements like Dadaism that rebelled against the established order amidst the horrors of war. And, less than 50 years after his death, he and his work have largely been forgotten while the artists and art movements of that period certainly have not.

[Terry Doyle]

First off, congratulations. And thanks for the introduction to Matania...I had not heard of him before. Great stuff.

 

Wot . . . no more love for Matania???

 

I'm not surprised at the indifference. No capes, no boobs = no love. What should be sobering for all of us as collectors is the realization that as skilled as this artist was, less than 50 years after his death, few people seem to care. He's just about forgotten. And it's not like he was an undiscovered talent...he was published. I would say that doesn't bode well for much of the art we buy solely for the artist.

 

I took a look at Anthony Smith's offerings and for the most part, the prices are comparable to a con sketch from a name artist, or a nice panel page. The two most expensive pieces are still less than some modern covers. That's a bit of perspective to me.

 

One poster asked what impact Matania's art must have had during WW I. My guess is not that much (especially with photographs and newsreels capturing more than realistic illustrators could), and undoubtedly a lot less than the fine art movements like Dadaism that rebelled against the established order amidst the horrors of war. And, less than 50 years after his death, he and his work have largely been forgotten while the artists and art movements of that period certainly have not.

 

Actually, Matania's World War I was very well received over here at that time.

 

Interesting snippet I came across regarding Adolf Hitler . . .

 

During the 1938 Munich crisis when Hitler and Chamberlain were having discussions at Berchtesgaden, Chamberlain noticed a copy of a painting by Fortunino Matania of the 2nd Battlalion Yorkshire Regiment, Green Howards at Menin Crossroads in October 1914. Hitler's unit had also been at the Menin Road in October 1914 and as a gesture of goodwill the Green Howards had sent Hitler a copy of the painting.

 

In the foreground is depicted Henry Tandy carrying a wounded comrade, "That man came so close to killing me in 1918 that I thought I should never see Germany again," said Hitler to Chamberlain pointing at the figure in the painting.

[delekkerste]

I might also add that it's not just that Matania's work that seems to be undervalued on the basis of draftsmanship quality vis-a-vis the comic art that Felix pointed out. The fact is, a growing percentage of comic art is now becoming more valuable than drawings and even minor paintings by *much* bigger names than Matania's. Go take a look at some of the Sotheby's Old Master and 19th Century art auction results from the past few years - you may be surprised at how relatively overvalued "capes and boobs" are becoming.

[comix4fun]

 

One poster asked what impact Matania's art must have had during WW I. My guess is not that much (especially with photographs and newsreels capturing more than realistic illustrators could), and undoubtedly a lot less than the fine art movements like Dadaism that rebelled against the established order amidst the horrors of war. And, less than 50 years after his death, he and his work have largely been forgotten while the artists and art movements of that period certainly have not.

 

 

 

If only he'd thought of the GIANT DOTS!!!

[delekkerste]

Actually, Matania's World War I was very well received over here at that time.

 

Interesting snippet I came across regarding Adolf Hitler . . .

 

In 1938 Prime Minister Neville Chamberlain (1869-1940), Conservative PM from 1937-40, made his gloomy trip to Munich to meet Chancellor Hitler in a last ditched effort to avoid war which resulted in the ill-fated 'Munich Agreement'. During that fateful trip Hitler invited him to his newly completed retreat in Berchtesgaden, Bavaria, a birthday present from Martin Bormann and the Nazi Party.

 

Perched 6017 feet up on Kehlstein Mountain it commanded spectacular views for 200 kilometers in all directions. While there the Prime Minister explored the hill top lair of the Fuehrer and found a reproduction of Matania's famous Marcoing painting depicting allied troops, puzzled by the choice of art Hitler explained, "that man came so near to killing me that I thought I should never see Germany again, providence saved me from such devilishly accurate fire as those English boys were aiming at us".

 

I'm sure it was well received - it is quality work. I just question how much of an impact it had in the art world, and I suspect the answer is still "not very much". Saddam Hussein owned a reproduction of a Rowena sword & sorcery paperback cover along with other fantasy art; it doesn't make any of that stuff any more impactful or historically important than Hitler's Matania print.

 

As an aside, I've taken a fair bit of flack from my girlfriend for "collecting Saddam Hussein art". :doh:

[delekkerste]

 

One poster asked what impact Matania's art must have had during WW I. My guess is not that much (especially with photographs and newsreels capturing more than realistic illustrators could), and undoubtedly a lot less than the fine art movements like Dadaism that rebelled against the established order amidst the horrors of war. And, less than 50 years after his death, he and his work have largely been forgotten while the artists and art movements of that period certainly have not.

 

 

 

If only he'd thought of the GIANT DOTS!!!

 

:yeahok:

 

If only he had thought of signing a urinal with a fake name and calling it art, as Duchamp did during the war. That may seem stupid to the Joe Sixpacks of the world who will claim it's all a pseudo-intellectual scam, but it has managed to profoundly influence art, culture and thinking in the decades that followed.

[Terry Doyle]

First off, congratulations. And thanks for the introduction to Matania...I had not heard of him before. Great stuff.

 

Wot . . . no more love for Matania???

 

I'm not surprised at the indifference. No capes, no boobs = no love. What should be sobering for all of us as collectors is the realization that as skilled as this artist was, less than 50 years after his death, few people seem to care. He's just about forgotten. And it's not like he was an undiscovered talent...he was published. I would say that doesn't bode well for much of the art we buy solely for the artist.

 

 

Actually, Felix, Matania isn't exactly a forgotten master . . .

 

About a month ago I was visiting one of the Liverpool University's bookshops with my daughter (she needed some books for her course).

 

Whilst there, I wandered around and came across a selection of prints for sale.

 

I bought myself a nice Matania print of his Southport painting, which was used to help promote the seaside town as a holiday resort during the 1920s.

 

The original painting, which is huge, is actually on display at the town's Atkinson Gallery where it is lovingly admired by all who visit.

 

Geoff West, a dealer/publisher over here, is gearing up to do a book on Matania.

 

 

[Terry Doyle]

 

One poster asked what impact Matania's art must have had during WW I. My guess is not that much (especially with photographs and newsreels capturing more than realistic illustrators could), and undoubtedly a lot less than the fine art movements like Dadaism that rebelled against the established order amidst the horrors of war. And, less than 50 years after his death, he and his work have largely been forgotten while the artists and art movements of that period certainly have not.

 

 

 

If only he'd thought of the GIANT DOTS!!!

 

Now, don't go upsetting Gene and his love of giant ben-day dots.