DOI issue:
Nr. 198 (August 1913)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43453#0189
Studio-Talk
this breach had taken a definite and somewhat
unexpected form. A new society had come into
existence under the title of the “ Secession,” and
was organising its exhibition, taking one half of the
Palace of Fine Arts in the Via Nazionale, the other
half being already filled by the existing exhibition
of the Cultori ed Amatori d’Arte.
The jury of the “Secession” included some
names which are already well known in modern
Italian art: Pieretto Bianco, whose decorative
panels filled the entrance hall at the last Venice
International Exhibition; Felice Carena; Plinio
Nomellini, that painter of sunlight; and the
sculptors Nicolini and Ivan Mestrovic, whose work
in the Servian Pavilion formed the sensation of the
Rome Exhibition of 1911. On the hanging com-
mittee and the directive council appeared the names
of Vittorio Grassi of Turin, and of Arturo Noci,
Camillo Innocenti, and Enrico Lionne from Rome;
and the “Secession” was fortunate in securing the
services as secretary of Dr. Tomaso Bencivegna,
whose experience at the Rome Exhibition two years
ago was invaluable, and of Signor Paolo Ferretti
as his assistant.
These names were in themselves a guarantee of
serious and valuable work; and as a matter of fact,
if any of the visitors at the opening expected any
very sensational developments they must have been
disappointed. The note of novelty was perhaps
to be found rather in the decorations of the rooms
than in their contents, which formed a very interest-
ing contribution (in their international character)
to European and, more directly, to Italian art.
From the international side the two rooms respec-
tively occupied by Auguste Rodin and by Paul
Troubetzkoy gave to sculpture a distinct predomi-
nance. The latter artist made, however, in my
judgment, the mistake of exhibiting too much and
too many works of a similar character and dimension.
The sculptures by Troubetzkoy amounted to no
fewer than eighty-seven exhibits, and though fre-
quently brilliant in their technique, the modelling
just carried far enough and left at the right point
(the full-length of My Wife, the clever bust of
“night at burano”
156
(Secession, Rome)
BY ARTURO NOCI
this breach had taken a definite and somewhat
unexpected form. A new society had come into
existence under the title of the “ Secession,” and
was organising its exhibition, taking one half of the
Palace of Fine Arts in the Via Nazionale, the other
half being already filled by the existing exhibition
of the Cultori ed Amatori d’Arte.
The jury of the “Secession” included some
names which are already well known in modern
Italian art: Pieretto Bianco, whose decorative
panels filled the entrance hall at the last Venice
International Exhibition; Felice Carena; Plinio
Nomellini, that painter of sunlight; and the
sculptors Nicolini and Ivan Mestrovic, whose work
in the Servian Pavilion formed the sensation of the
Rome Exhibition of 1911. On the hanging com-
mittee and the directive council appeared the names
of Vittorio Grassi of Turin, and of Arturo Noci,
Camillo Innocenti, and Enrico Lionne from Rome;
and the “Secession” was fortunate in securing the
services as secretary of Dr. Tomaso Bencivegna,
whose experience at the Rome Exhibition two years
ago was invaluable, and of Signor Paolo Ferretti
as his assistant.
These names were in themselves a guarantee of
serious and valuable work; and as a matter of fact,
if any of the visitors at the opening expected any
very sensational developments they must have been
disappointed. The note of novelty was perhaps
to be found rather in the decorations of the rooms
than in their contents, which formed a very interest-
ing contribution (in their international character)
to European and, more directly, to Italian art.
From the international side the two rooms respec-
tively occupied by Auguste Rodin and by Paul
Troubetzkoy gave to sculpture a distinct predomi-
nance. The latter artist made, however, in my
judgment, the mistake of exhibiting too much and
too many works of a similar character and dimension.
The sculptures by Troubetzkoy amounted to no
fewer than eighty-seven exhibits, and though fre-
quently brilliant in their technique, the modelling
just carried far enough and left at the right point
(the full-length of My Wife, the clever bust of
“night at burano”
156
(Secession, Rome)
BY ARTURO NOCI