Son of Achille Muzio, he was born in Fossombrone on 23 May 1887. He did his classical studies at the Marco Foscarini high school in Venice; he then studied drawing in Este, at the school of Francesco Salvini. A pupil of the Brera Academy in Milan in 1904-05, he left for Paris in 1906, where he remained until 1915, devoting himself above all to engraving. In May of that year he returned to Italy as a war volunteer. The etchings made in Paris include the following collections: Le petit Paris qui bouge (25 etchings), 1908; The Old Men (12 etchings), 1908; Rouen (9 etchings), 1908; Paris qui bouge (59 etchings), 1909; Nocturnal Algiers (6 etchings), 1912; Brittany (8 etchings), 1912. The B. participated in the most important Parisian exhibitions, also obtaining an honorable mention at the Salon des artistes français in 1910. These series of etchings are inspired by the French post-impressionist graphic culture of the early twentieth century, while retaining characteristic traces of Fattori's study, of his dry and shy manner of any rhetoric. Bucci oscillates between this kind of vision and the formal elegance, then fashionable, of Chahine. But the Parisian atmosphere brought him closer to the taste of Jean-François Raffaelli, who was a careful interpreter of the life of the boulevards and the banlieue, and to the most acute notes of Pierre Bonnard. And this is clear in some prints such as L'écraseur, Touaregs à Paris, Avenue Rachel and in the more free ones, such as Rue Lepic, Les frites, Sa Majesté and Bourgeoises du dimanche (all of 1909). The Parisian period was the best time for Bucci's art, close to the similar experience of Lorenzo Viani, for his love for the life aspects of the humble and the poor. He drew nervous, characteristic portraits of types found on the street, and drypoint was the expressive mode most appropriate to his immediate, sensitive, ironic illustrator temperament, which also manifested itself, with equal happiness of writing, in the memories of artists. known or seen in Paris between 1906 and 1915, published in the Ambrosiano and in the Corriere della Sera many years later, and in the aphorisms and diary pages of the Flying Painter (Milan 1930), a work that won the Viareggio prize that same year . Bucci, always attentive and lively, described many aspects of war life, from 1915 to 1918, in a series of 50 drypoints published in Paris in 1918 with the title Croquis du front italien, in the 50 color lithographic plates entitled Marina a terra ( 1918) and in the 12 color lithographs published in 1919 under the title Finis Austriae. In the infinite notes drawn in the war notebooks, which served as a starting point for the engravings and lithographs (see Gall. Pesaro, Arte di guerra di A. B., catal., Milan 1918), we can already see the developments of Bucci's art, in domination of illustration, documented in their most precise stylistic characters in the eight drypoints for Kipling's First Book of the Jungle, which was published in Milan in 1925. Bucci, painter and decorator, then took his inspiration from these illustrations, in an increasingly evident detachment from the graphic civilization of the Parisian years, almost in controversy with himself. And the controversy intensified, after his return, after the war, to Paris, the capital of the most advanced avant-gardes, and increasingly alien to him. In fact, despite being so gifted as an engraver, he wanted to express in painting a kind of return to classicism, particularly desired in the post-war 1918 by painters and writers in magazines such as Rete Mediterraneo and Valori plastici, and which resulted in the formation of the group of the "Novecento italiano "in 1922. Bucci was the real promoter of the group, which, in Milan, organized conferences, debates and exhibitions, with the aim of favoring a neoclassical orientation, despite the references to Giotto and Masaccio. His greatest commitment was in the painting The Painters, a canvas completed between 1921 and 1924, which was to represent his thought on art antithetical to the avant-garde movements, so often expressed in the writings of that time and of the following years. The dream of the metropolis, as a symbol of the most exciting modernity, which had animated the research of our futurists, from Boccioni to Severini, from Carrà to Soffici, in their Parisian "escapes", was for Viani and Bucci a picturesque and disordered temptation , typical of the anarchism of youth. The freedom to express oneself, outside of academic teachings, outside of any tradition, was an aim for all Italian pilgrims in the land of France, from Martini to Rossi, from Modigliani to De Chirico, from Licini to Prampolini, from Magnelli in Russolo. Each of them had a different fate from that of Bucci, who instead accentuated his ideal detachment from contemporaneity, opposing the ancients to the moderns, often with a caustic spirit, with a curious romantic resentment. This state of mind could inspire many excellent pages to the writer Bucci, who also made a name for himself with The book of Bigia (Milan 1942) and with other articles published in the Corriere della Sera. Bucci's master, Jules Adler, said in 1910: "Il n'est pas difficile de faire un jeune peintre: ce qui est difficile, c'est de vieillir proprement": and Bucci grew old believing in the possibility of a "return to 'order', maintaining an extraordinary vitality, full of moods, nourished by a singular culture, an admirable moral independence, an irony that rarely reached sarcasm. Bucci was one of the best known representatives of the Baguttian cenacle, ready for jokes, generous and cordial. In the exhibition, which C. A. Petrucci organized for him at the National Chalcography in Rome in December 1954, 649 engravings were exhibited, mostly drypoint, and 48 lithographs, described in a very precise catalog, edited by Petrucci himself. It was Bucci's complete work: the work that fully reveals his whimsical personality, dominated by love for reality, for the movement of life, in the many aspects of peace and war. Bucci died in Monza on November 19, 1955.


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