International studio (44.1911)

International Art Exhibition, Rome


“ l/AEROl’LANE ” BY FILIPPO CARCANO

to Venice ; while the gifted Signorina Emma has
two paintings, one of which fRezzonico) has those
qualities of fullness of sentiment and refinement of
drawing and colour which so delighted us in past
Venice exhibitions. Beppe Ciardi, her brother,
has one painting of an old white horse, which is a
clever study of light and cloud.
Ettore Tito, who may be fairly considered a
Venetian, though I believe he was born at Naples,
has an entire wall in the next room, but does not
here rise to the level of his fine Sala in the Venice
Exhibition of 1909. His seems inspired
by earlier Italian religious art, and Canctlazzo is a
very clever rendering of lights upon water with
gondolas and “barche ” in movement, in which the
foreshortening of the figures is admirable. This
sense of rippling waters, of sunlight upon moving
figures, and moonlight upon the broken surfaces,
contrasting with the deep shadows of old buildings,
fills the art of modern Venice, my notice of
which I shall conclude with mention of the Chioggia
Fisher Girl of Eaurenti, and the Fishermen's .Houses
of Pieretto Bianco.
Quite different, both in technique and sentiment,
is the school of Tuscany. A certain flatness of
modelling, good sense of colour, and great charm
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of sentiment are features which, by no means in-
variable, are very frequent in these Tuscan artists.
Examples here are to be found in The Madwomen,
by Rafaello Gambogi, which has just the qualities I
have mentioned, in the two brothers Francesco and
Luigi Gioli (Holy Saturday al Pisa and Volterrai),
in the work of Bastianini, Pellegrini, Lori, Ernestina
Orlandini, and Llewelyn Lloyd, whose name is
obviously suggestive of Welsh extraction.
Bargellini—with his finely decorative triptych in
the large Italian room of Resurrection, with Gior-
dano Bruno as its central figure—and Antonio
Discovolo, with his imaginative landscapes, are too
markedly individual to fall into line with the general
characteristics of modern Tuscan art.
And now we come to the Roman school, which,
in an exhibition held within Rome, demands special
interest. And here the work of Onorato Carlandi
may claim the first place, as being specially painted
for this exhibition and the work of an artist who is
well known in England, and has been for many
years connected with artistic life in Rome. In his
great triptych, Alba Nuova, the centre panel (Forum
Magnum) represents the old Forum, the centre of
Roman life under the Republic and Empire ; the
Via Appia (Regina Viarum) on the right, winding