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                  <text>127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud. &#13;
&#13;
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in  2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).&#13;
 &#13;
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro. &#13;
&#13;
Originals are on display at&#13;
&#13;
Biblioteca comunale di San Giorgio di Nogaro&#13;
Piazza Plebiscito, 2&#13;
33058 San Giorgio di Nogaro (UD)&#13;
ITALY&#13;
++39 0431 620281&#13;
info.biblioteca@comune.sangiorgiodinogaro.ud.it&#13;
&#13;
The collection was catalogued by IBCC Digital Archive staff.</text>
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&#13;
Label reads “53”; signed by the author; caption reads “All’improvviso una visione di un gigante stava in piedi sul mare, dritto con le braccia alzate, protese verso di noi, incredibile erano già passate altre 14 ore dal naufragio, si reggeva su una porta, era di Rigolato UD fù salvato dalla Marina; un’altro Bertossi da Cervignano UD errò sul mare a lungo, quando salvato, stupì i medici, dopo tanta permanenza in acqua gelida, non aveva nemmeno un raffreddore. I morti furono 792 i superstiti 74 a bordo del Galilea erano 1532, 880 alpini della Julia, 65 del battaglione Gemona, 48 bersaglieri, 28 carabinieri, 23 civili, 62 membri dell‘equipaggio, 64 deportati politici, e 6 donne. 3”&#13;
&#13;
Caption translates as: “Suddenly, the sight of a giant standing on the sea, straight, his arms stretching towards us. It was unbelievable that 14 hours had already passed since the shipwreck. He was holding onto a door. He was from Rigolato (Udine province) and was rescued by the Navy. Another one, a Bertossi from Cervignano (Udine province) remained in icy water for a long time; when he was rescued, he astonished the doctors for not even having caught a cold. Of the 1,532 people on the Galilea, 792 men died and 74 survived;  880 Alpini on the Julia, and 65 from the Gemona battalion; 48 were riflemen, 28 were Carabinieri, 23 civilians, 62 members of the crew, 64 political deportees, and six women. 3”</text>
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                  <text>127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud. &#13;
&#13;
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in  2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).&#13;
 &#13;
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro. &#13;
&#13;
Originals are on display at&#13;
&#13;
Biblioteca comunale di San Giorgio di Nogaro&#13;
Piazza Plebiscito, 2&#13;
33058 San Giorgio di Nogaro (UD)&#13;
ITALY&#13;
++39 0431 620281&#13;
info.biblioteca@comune.sangiorgiodinogaro.ud.it&#13;
&#13;
The collection was catalogued by IBCC Digital Archive staff.</text>
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&#13;
Label reads “52”; signed by the author; caption reads “… un Cant Z506 della croce rossa tenta un ammaraggio capovolgendosi, il mare era una distesa di cadaveri, si vide una strana immensa margherita, si trattava di una decina di alpini morti, che si tenevano per mano, al centro di essi c’era un salvagente giallo. Tanti capellini e tante mantelline, relitti, pezzi di legno, carcasse di animali morti, valigie, lancie rovesciate, su una zattera stavano aggrappati disperatamente quattro uomini recuperati poi da un bastimento… 2”&#13;
&#13;
Caption translates as: “A CANT Z.506 patrol aircraft of the Red Cross tried to land at the sea, but it capsized. The expanses of sea looked as if it were covered in corpses. We saw a large, grotesque daisy, formed of ten dead Alpini holding their hands. A yellow lifebelt in the middle. Many hats and capes, flotsam, dead animal remains, suitcases, capsized motorboats… Four men were desperately holding onto a raft, before being rescued by a cargo ship… 2”</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>127 items. The collection consists of a selection of works created by Alfonsino ‘Angiolino’ Filiputti (1924-1999). A promising painter from childhood, Angiolino was initially fascinated by marine subjects but his parents’ financial hardships forced an end to his formal education after completing primary school. Thereafter, he took up painting as an absorbing pastime. Angiolino depicted some of the most dramatic and controversial aspects of the Second World War as seen from the perspective of San Giorgio di Nogaro, a small town in the Friuli region of Italy. Bombings, events reported by newspapers, broadcast by the radio or spread by eyewitnesses, became the subject of colourful paintings, in which news details were embellished by his own rich imaginings. Each work was accompanied by long pasted-on captions, so as to create fascinating works in which text and image were inseparable. After the war, however, interest in his work declined and Angiolino grew increasingly disenchanted as he lamented the lack of recognition accorded his art, of which he was proud. &#13;
&#13;
The work of Angiolino Filiputti was rediscovered thanks to the efforts of Pierluigi Visintin (San Giorgio di Nogaro 1946 – Udine 2008), a figurehead of the Friulan cultural movement, author, journalist, screenwriter and translator of Greek and Latin classical works into the Friulan language. 183 temperas were eventually displayed in  2005 under the title "La guerra di Angiolino" (“Angiolino’s war”.) The exhibition toured many cities and towns, jointly curated by the late Pierluigi Visintin, the art critic Giancarlo Pauletto and Flavio Fabbroni, member of the Istituto Friulano per la Storia del Movimento di Liberazione (Institute for the history of the resistance movement in the Friuli region).&#13;
 &#13;
The IBCC Digital Archive would like to express its gratitude to Anna and Stefano Filiputti, the sons of Angiolino Filipputi, for granting permission to reproduce his works. The BCC Digital Archive is also grateful to Alessandra Bertolissi, wife of Pierluigi Visintin, Alessandra Kerservan, head of the publishing house Kappa Vu and Pietro Del Frate, mayor of San Giorgio di Nogaro. &#13;
&#13;
Originals are on display at&#13;
&#13;
Biblioteca comunale di San Giorgio di Nogaro&#13;
Piazza Plebiscito, 2&#13;
33058 San Giorgio di Nogaro (UD)&#13;
ITALY&#13;
++39 0431 620281&#13;
info.biblioteca@comune.sangiorgiodinogaro.ud.it&#13;
&#13;
The collection was catalogued by IBCC Digital Archive staff.</text>
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              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                  <text>Filiputti, A-S</text>
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              <name>Publisher</name>
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                  <text>IBCC Digital Archive</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                <elementText elementTextId="35637">
                  <text>This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Sinking of the SS Galilea. Part 1</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="1406">
                <text>The SS Galilea has been torpedoed on its starboard side. A large explosion has caused flames to engulf the craft and black smoke is billowing upwards. Large waves are evident around the ship. Two other ships are sailing away towards the horizon, one to the left and the other straight ahead. &#13;
&#13;
Label reads “51”; signed by the author; caption reads “28 MARZO 1942. Ore 13.00 sei piroscafi carichi di truppe, scortati da sei caccia lasciano Patrasso, in formazione di fila, poi a fila doppia il mare è mosso pioggia a raffiche. C‘è l’agguato, il sommergibile inglese Proteus lancia i siluri il Galilea da 7000 tonellate è colpito, si tenta di far arenare la nave, ma il mare grosso l’impedi’. Lo scoppio del siluro provoca un’inmenso panico a bordo, buio alpini che corrono sui ponti, la maggior parte hanno i salvagente e le scarpe slacciate. Molti si gettarono in mare dall‘alto della nave, scomparendovi sotto, due sole scialuppe toccarono il mare, sono le 3.50 del 29 Marzo, molti alpini non vollero buttarsi e affondarono con la nave, faceva freddo, molti svenirono… 1”&#13;
&#13;
Caption translates as: “29 March 1942 – 1 pm. Six steamers, loaded with troops in a convoy, escorted by a line of six destroyers are leaving Patrasso. Single file formation, then two. The sea is rough;  heavy rain. Ambushed: the British submarine, Proteus, shoots torpedoes. The Galilea, 7,000  gross register tonnage, is hit. They tried to run the ship ashore, but the stormy sea prevents it. The explosion of the torpedo caused massive panic aboard. It was dark. ‘Alpini’ mountain infantrymen running on the decks, mostly with life vests and untied shoes. Many jumped in the sea from the ship and disappeared below water. Only two lifeboats were successfully launched. Time is 3.50 am, 29 March, many Alpini did not want to jump in the sea and sank with the ship. It was cold, many fainted… 1”</text>
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                <text>PFilliputtiA16010022</text>
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                <text>ita</text>
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            <name>Creator</name>
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              <elementText elementTextId="1953">
                <text>Angiolino Filiputti</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Francesca Campani</text>
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              <elementText elementTextId="2203">
                <text>Alessandro Pesaro</text>
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              <elementText elementTextId="2328">
                <text>Helen Durham</text>
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              <elementText elementTextId="744651">
                <text>Giulia Banti</text>
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              <elementText elementTextId="744778">
                <text>Maureen Clarke</text>
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            <name>Subject</name>
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                <text>World War (1939-1945)</text>
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          <element elementId="45">
            <name>Publisher</name>
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                <text>IBCC Digital Archive</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>One tempera on paper, pasted on mount board</text>
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          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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              <elementText elementTextId="3430">
                <text>Mediterranean Sea</text>
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            <name>Temporal Coverage</name>
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                <text>1942-03-28</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="4460">
                <text> This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published ‘as is’ and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.</text>
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            <name>Type</name>
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                <text>Artwork</text>
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                <text>Filiputti, Angiolino. Sinking of the SS Galilea</text>
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