{"object":[{"sourceId":{"label":"Source ID","value":"4638"},"copyright":{"label":"Copyright","value":"© Fondazione Culturale Carlo Zinelli"},"creditline":{"label":"Credit Line","value":"Gift of Sam and Betsey Farber"},"endDate":{"label":"End Date","value":"1967"},"sortNumber":{"label":"Sort Number","value":"2007    14    2B"},"invno":{"label":"Accession number","value":"2007.14.2B"},"description":{"label":"Description","value":""},"edition":{"label":"Photo Credit","value":"Gavin Ashworth"},"medium":{"label":"Medium","value":"Gouache on paper"},"geographyPlaceregion":{"label":"Place/Region","value":"Verona"},"media":{"label":"Media","value":{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/3922/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"3922"}},"title":{"label":"Title","value":"Horse with Figures (double-sided)"},"geographyCity":{"value":"Verona"},"textEntriesWebsitedisplaytext":{"value":["As was customary in Italian villages, Carlo Zinelli left school at the age of 9. Sent to work on a farm, the diffident boy took comfort in solitary walks. A subsequent move to Verona to work as a butcher\u2019s helper left Carlo disoriented. When he was sent to the front at the beginning of World War II, he began to exhibit symptoms of mental illness and was discharged to his family\u2019s care. In 1947 he was admitted to a psychiatric hospital for hallucinations, terrors, and an increasing inability to use language. Diagnosed with paranoid schizophrenia and autism, Zinelli spoke for the rest of his life only in strings of neologisms and nonsensical syllables. In 1957, however, the hospital opened an art studio where, for almost twenty years, he painted eight hours a day. He expressed himself in an evolving style built upon an enigmatic graphic vocabulary\u2014silhouetted figures, circles, geometric objects, letters, and private symbols that he often repeated in multiples of four.Horse with Figures, a double-sided work, exemplifies the simplified, dramatic compositions of the final phase of Zinelli\u2019s artistic development. A few large silhouetted figures stand out against a ground of pale color, black dashes, and calligraphic lettering. The human figure to the right, shown as three separate elements\u2014head and torso, buttocks and legs, and feet\u2014recalls earlier paintings in which detached body parts refer to Zinelli\u2019s war experience. The vibrating, overlapped words, both real and invented, are decorative rather than communicative. His need to establish order is evident in the graphic images in multiples of four, such as the blue circle against a yellow-green ground and yellow circles against a blue ground. The painting on the reverse is similar in composition: larger objects\u2014a delicate flower and a horse\u2014are surrounded with repetitions of calligraphic letters and dashes. With their refined coloring and masterful draftsmanship, Zinelli\u2019s are haunting works.Cheryl Rivers, \"Horse with Figures,\" in Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 406.Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","Double-sided work","Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org"]},"collections":{"label":"Collections","value":"Works on Paper"},"geography":{"label":"Geography","value":"Verona"},"id":{"label":"Id","value":"155188"},"geographyState":{"value":""},"geographyCountry":{"value":"Italy"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"218","content":"Carlo Zinelli"}},"classifications":{"label":"Classification(s)","value":"Drawings"},"textEntries":{"label":"Text Entries","value":["As was customary in Italian villages, Carlo Zinelli left school at the age of 9. Sent to work on a farm, the diffident boy took comfort in solitary walks. A subsequent move to Verona to work as a butcher\u2019s helper left Carlo disoriented. When he was sent to the front at the beginning of World War II, he began to exhibit symptoms of mental illness and was discharged to his family\u2019s care. In 1947 he was admitted to a psychiatric hospital for hallucinations, terrors, and an increasing inability to use language. Diagnosed with paranoid schizophrenia and autism, Zinelli spoke for the rest of his life only in strings of neologisms and nonsensical syllables. In 1957, however, the hospital opened an art studio where, for almost twenty years, he painted eight hours a day. He expressed himself in an evolving style built upon an enigmatic graphic vocabulary\u2014silhouetted figures, circles, geometric objects, letters, and private symbols that he often repeated in multiples of four.Horse with Figures, a double-sided work, exemplifies the simplified, dramatic compositions of the final phase of Zinelli\u2019s artistic development. A few large silhouetted figures stand out against a ground of pale color, black dashes, and calligraphic lettering. The human figure to the right, shown as three separate elements\u2014head and torso, buttocks and legs, and feet\u2014recalls earlier paintings in which detached body parts refer to Zinelli\u2019s war experience. The vibrating, overlapped words, both real and invented, are decorative rather than communicative. His need to establish order is evident in the graphic images in multiples of four, such as the blue circle against a yellow-green ground and yellow circles against a blue ground. The painting on the reverse is similar in composition: larger objects\u2014a delicate flower and a horse\u2014are surrounded with repetitions of calligraphic letters and dashes. With their refined coloring and masterful draftsmanship, Zinelli\u2019s are haunting works.Cheryl Rivers, \"Horse with Figures,\" in Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 406.Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","Double-sided work","Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org"]},"beginDate":{"label":"Begin Date","value":"1967"},"displayDate":{"label":"Date","value":"March 15th, 1967"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Thursday, July 11, 2002 - Sunday, January 5, 2003","exhibitionEndISODate":"2003-01-26","exhibitionID":"73","exhibitionISOBeginDate":"2002-07-11","exhibitionBeginDate":"2002","exhibitionTitle":"American Anthem","exhibitionEndDate":"2003"},{"exhibitionDisplayDate":"Tuesday, March 14, 2017 - Sunday, August 20, 2017","exhibitionEndISODate":"2017-08-20","exhibitionID":"164","exhibitionISOBeginDate":"2017-03-14","exhibitionBeginDate":"2017","exhibitionTitle":"Carlo Zinelli (1916\u20131974)","exhibitionEndDate":"2017"}]},"dimensions":{"label":"Dimensions","value":"27 1/2 × 19 5/8\""}}]}