DOI issue:
No. 119 (January, 1907)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.28250#0286
Studio-Talk
STAINED-GLASS DESIGNED BY I. CANTINOTTI
WINDOW (G. BELTRAMI & CO.)
well have proclaimed here at Milan their awakening
to a sense of modern decorative art, the evolution of
which is one of the most glorious events of the age
we live in. Yet our Decorative Art Section (un-
happily the Pavilion was burnt to the ground one
morning early in August), rich as it was in exhibitors,
did not succeed, as a whole, in inspiring confidence,
pleasure or contentment among those who are the
leaders in the flowery path of Beauty.
For the most part our artists are lacking in that
imperishable sense of modern beauty, that perception
which is equal to the very truth of our aesthetics.
The schools themselves are refractory to sentiments
such as these, and some of them are advancing
with difficulty along the new pathway, any progress
being due rather to the personal efforts of the
students than to the merit of their teachers.
M. Quarti was one of the first artists in Italy
to embrace the new expression of beauty. A
cabinet-maker rather than a master decorator, in
.the broadest sense of the word, he has a perception
272
and a faith that nothing can shake. His manufac-
tory at Milan, from the artistic point of view, is
one of the highest order, and it is much to be
deplored that the fire should have destroyed his
“installations” — a superb dining-room and a
delightful little cabinet, of which, so far as I know,
there are not even photographs in existence.
Not far from the stand of M. Quarti was the
big two-storeyed exhibit of the Fabbrica Italiana
di Mobili. For this display, largely modern in
aspect, the two young artists named Sicchirollo
STAINED-GLASS DESIGNED BY I. CANTINOTTI
WINDOW (G. BELTRAMI & CO.)
STAINED-GLASS DESIGNED BY I. CANTINOTTI
WINDOW (G. BELTRAMI & CO.)
well have proclaimed here at Milan their awakening
to a sense of modern decorative art, the evolution of
which is one of the most glorious events of the age
we live in. Yet our Decorative Art Section (un-
happily the Pavilion was burnt to the ground one
morning early in August), rich as it was in exhibitors,
did not succeed, as a whole, in inspiring confidence,
pleasure or contentment among those who are the
leaders in the flowery path of Beauty.
For the most part our artists are lacking in that
imperishable sense of modern beauty, that perception
which is equal to the very truth of our aesthetics.
The schools themselves are refractory to sentiments
such as these, and some of them are advancing
with difficulty along the new pathway, any progress
being due rather to the personal efforts of the
students than to the merit of their teachers.
M. Quarti was one of the first artists in Italy
to embrace the new expression of beauty. A
cabinet-maker rather than a master decorator, in
.the broadest sense of the word, he has a perception
272
and a faith that nothing can shake. His manufac-
tory at Milan, from the artistic point of view, is
one of the highest order, and it is much to be
deplored that the fire should have destroyed his
“installations” — a superb dining-room and a
delightful little cabinet, of which, so far as I know,
there are not even photographs in existence.
Not far from the stand of M. Quarti was the
big two-storeyed exhibit of the Fabbrica Italiana
di Mobili. For this display, largely modern in
aspect, the two young artists named Sicchirollo
STAINED-GLASS DESIGNED BY I. CANTINOTTI
WINDOW (G. BELTRAMI & CO.)