International studio (14.1901)

Studio- Talk

“MOTHER AND CHILD” BY PROFESSOR SINDING

(See Copenhagen Studio- Talk)

universally admired; of Braecke, Van der Stappen,
Lambeaux; while Cazin and Charpentier send
numerous plaquettes.

To come now to the Italian galleries. An inte-
resting attempt is being made to divide the artists
according to districts. The difficulty is that not
all the artists from one particular place are natives
thereof; moreover, many of the best-known men
are not exhibiting, or at least have nothing new to
show.

The honours in the domain of sculpture are
divided by two admirable artists —Pietro Canonica,
of Turin, and Domenico Trentacoste, of Palermo.
The first-named combines perfection of form with a
strong sense of character, as may be seen in his
busts of the Duchessa di Genova and Tommaso
Vallauri. The other, who has notably broadened
his style of late, is seen to great advantage in his
Ciccajolo. Leonardo Bistolfi carries the picturesque
sentiment somewhat to excess, while Prince Tru-
betskoy, whose little bronze groups were highly
successful in Paris, again attracts attention by his
“ nervous ” work. Good things are also sent by

Marsili, Quadrelli and Romagnoli. Two painters
are also seen in the sculpture gallery—Tito and
Sartorio—who exhibit leaping horses.

Collective exhibitions are steadily growing in
favour. There were four of them recently worthy of
mention. The most important was that of Antonio
Fontanesi (1818—1882), who was influenced largely
by the French art of 1830. Then we had Gaetano
Previati, of Ferrara, a genial idealist, but somewhat
lacking in sureness of expression. The works of
Luigi Nono, of Venice, on the other hand, were full
of observation. That much lamented Neapolitan
artist, the late D. Morelli, exhibited four pictures
of various periods, which, however, did not give an
adequate idea of his splendid gifts. Morelli apart,
the Neapolitan display was saved from the charge
of mediocrity by the excellent work of Michetti
and G. de Nittis. Prominent among the Roman ex-
hibitors were Costa and Cabianca, fine as ever;
Sartorio, with a series of views; Coleman, Parisani,
Cellini, Carlandi, Farretti, and Beniscelli. A. de
Carolis displayed the only decorative painting in
the whole exhibition, a truly delightful Concerto.
Tuscany was worthily represented by the deceased

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