Canzone (1934). Antonio Donghi (Italian, 1897-1963). Possessed of an extremely refined technique, Donghi favored strong composition and spatial clarity. The critic Ugo Ojetti saw his clear realism and choice of subject-matter (people, still-lifes and cityscapes) as egalitarian and related to Caravaggio’s influences. The disconcerting immobility of his figures also drew comparisons with the work of Seurat and of Henri Rousseau.