International studio (18.1902/1903)

our great Italian master, whose originality is, aias !
not yet fuliy recognised, exercised a very salutary
inftuence over Previati, and has also saved many a
young painter from premature failure. Cremona
could not, of course, give equai attention to ail the
painters who turned to him for help and encourage-
ment, and as a resuit the personality of this
painter, or rather of this artist, who is little known
out of his own country, though he is one of the
greatest of modern Italian masters, has had a disas-
trous infiuence on some, and a salutary one on
others. In fact, just as the viriie force of Michaei
Angelo was responsible for the evolution of
Bernini, who emerged from a phaianx of mediocre
sculptors, so did that of the MHanese painter pro-
duce great resuits when it was brought to bear on
such men as Previati, men
whom the example of great
spirits inspire to foiiow in
their steps, yet at the same
time never iead them to
merge their own individu-
ality in that of another,
however great.
In a word, Previati was
not content merely to
emulate Cremona; but,
having reached the same
point as that master, he
went on, fohowing the
ieading of his own muse
aiong the sunlit path of art
in Italy ; a path which is
ever widening, thanks to
the happy fact that we have
at Milan a whoie group
of such artists as Cre-
mona; gloriousrebeis, each
one working out his own
art-salvation according to
the dictates of his own
genius. In this group we
watched Giovanni Segan-
tini, whom aii the world
agrees to honour, rise
up like a Hercules; we
looked on at the develop.
ment of Filippo Carcano,
the master
of landscape painting in
Lombardy ; and, lastly,
we noted the rapid pro-
gress of the man now
under review, Gaetano
52

Previati, on whom the painter of IHrw was
really quite unable to exercise any inHuence, either
from the point of view of technique or com-
position. Previati worked quietly on at Milan
forming his own individual style, at frrst ap-
proaching, to some extent, to that of Cremona,
but gradually achieving complete independence,
although he always gratefully acknowleged the
debt he owed to the man who aided him in
realising his art ambitions. It was, indeed, when
the earnest, thoughtful young Ferrarese Hrst came
into touch with Cremona that his art development
truly began.
Quiet, self-possessed, eagerly enjoying all things
beautiful, his character is reHected in his painting;
he has the two qualities the combination of which


"MADONNA

BY G. FREVIATI