Giulio Aristide Sartorio (Roma 1860-1932) - A rainy day oil on canvas panel 39.5 x 53.5 cm signed lower right: G. A. Sartorio / ad Icilio Feliciani / affettuosamente On the back, on the support, Winterstein printed tag with reference number written in pen (41); old reference number. Attached declaration of authenticity on photograph signed by Maurizio Fagiolo dell'Arco dated 1982; declaration of authenticity by the Giulio Aristide Sartorio Archive signed by Michela Sartorio dated 6/12/2022. The photographic documentation of the work has been inserted in the Sartorio Archive for the general catalog of the artist's production. Here following in its entirety the authenticity declaration signed by Maurizio Fagiolo dell'Arco dated 1982: "This important piece evidently belongs to the period when Sartorio, painter of international fame, is called as professor of the Academy of Fine Arts in the city of Weimar. This is confirmed by the Nordic customs and environment, besides the technique, which is a clever mimesis of photography. Often Sartorio these days it even recurs as a preparation for some of his lithographs, tracing them, with photographic negative effect (see for example one of his Self-portrait on horseback from the Weimar era, published in the catalog Dannunzian painters, Rome 1978, edited by M. Fagiolo and M. Marini. For this period, fundamental in his artistic research, please see my text in the Giulio Aristide Sartorio catalog, Roma Accademia di San Luca 1980. It's a very effective and very significant: the sketches (absolutely photographic) and then the realization of The Gorgon and the heroes and Diana Ephesina among the slaves (today in the National Gallery of Modern Art in Rome). Similar works painted in these four years (before returning to Italy with the new century) can be found in the great exhibition dedicated to Sartorio by the "Royal Academy Italy" a year after the death with a preface by Guglielmo Marconi, even in the Galleria Borghese. Today Sartorio's fame is certainly not at those levels, but his official painting is definitely returning to the attention of history, but also experimental (as demonstrated, among other things, by this picture)."