DOI Heft:
Nr. 198 (August 1913)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43453#0190
Studio-Talk
“VILLA DORIA ”
(Secession, Rome)
BY ARTURO NOCI
Bernard Shaw, and the portrait of Tolstoi might be
cited, along with a wonderful study of A Model
dressing), the general effect of the room was distress-
ing and unfair to its own contents. The French
Impressionist painters had a room to themselves
which was not of very great interest, though
Pissarro, Roussel, and Forain were represented, and
there was a marvellous Claude Monet, a vision of
Waterloo Bridge transformed into a thing of fairy
beauty, of tender greys transfused with rose ; while
among our English painters East, Lavery, and
Crane appeared. _
I turn now to the Italian work in painting, which
more directly revealed the reasons which lay
behind this movement of the “ Secession.” Arturo
Noci is a painter who has his art at his finger-ends,
and is perfectly at home whether with figure or
landscape, in oil, colour, or pastel. Here he was
very adequately represented with two landscapes,
Villa Doria and Night at Burano, and with an
admirable portrait study of a gentleman seated,
slightly “ divisionist ” in treatment, and put in with
little touches of clean pure colour. Now that
Innocenti, occupied in Paris, seems to be keeping
without the orbit of Roman art, Noci takes a very
leading place, and beside him I should put Enrico
Lionne, whose studies of girls, Barbara and Violette,
and his Hour of the Grasshoppers ( Villa Borghese)
showed all his rich sense of colour and loose free
technique. _
I mention these artists first because they helped
to represent Rome in this Rome exhibition, in
which Onorato Carlandi—occupied with his Vienna
exhibition of this spring — did not show at his
usual strength; but one of the most attractive
features of the exhibition was the room (Sala XIV)
filled with the work of Plinio Nomellini, whose
paintings of the Tuscan sea-coast near Viarreggio
and elsewhere (Children beside the Sea, Evening of
Summer, White Springtime, and Festa Notturna)
absolutely vibrate with living colour. It was a
pleasure to enter this room, for one had the sensation
of coming into the sunshine : and Signor Nomellini
had the wisdom to keep the wall decorations very
subordinate and quiet in tone, whereas elsewhere
they were sometimes inordinately insistent.
157
“VILLA DORIA ”
(Secession, Rome)
BY ARTURO NOCI
Bernard Shaw, and the portrait of Tolstoi might be
cited, along with a wonderful study of A Model
dressing), the general effect of the room was distress-
ing and unfair to its own contents. The French
Impressionist painters had a room to themselves
which was not of very great interest, though
Pissarro, Roussel, and Forain were represented, and
there was a marvellous Claude Monet, a vision of
Waterloo Bridge transformed into a thing of fairy
beauty, of tender greys transfused with rose ; while
among our English painters East, Lavery, and
Crane appeared. _
I turn now to the Italian work in painting, which
more directly revealed the reasons which lay
behind this movement of the “ Secession.” Arturo
Noci is a painter who has his art at his finger-ends,
and is perfectly at home whether with figure or
landscape, in oil, colour, or pastel. Here he was
very adequately represented with two landscapes,
Villa Doria and Night at Burano, and with an
admirable portrait study of a gentleman seated,
slightly “ divisionist ” in treatment, and put in with
little touches of clean pure colour. Now that
Innocenti, occupied in Paris, seems to be keeping
without the orbit of Roman art, Noci takes a very
leading place, and beside him I should put Enrico
Lionne, whose studies of girls, Barbara and Violette,
and his Hour of the Grasshoppers ( Villa Borghese)
showed all his rich sense of colour and loose free
technique. _
I mention these artists first because they helped
to represent Rome in this Rome exhibition, in
which Onorato Carlandi—occupied with his Vienna
exhibition of this spring — did not show at his
usual strength; but one of the most attractive
features of the exhibition was the room (Sala XIV)
filled with the work of Plinio Nomellini, whose
paintings of the Tuscan sea-coast near Viarreggio
and elsewhere (Children beside the Sea, Evening of
Summer, White Springtime, and Festa Notturna)
absolutely vibrate with living colour. It was a
pleasure to enter this room, for one had the sensation
of coming into the sunshine : and Signor Nomellini
had the wisdom to keep the wall decorations very
subordinate and quiet in tone, whereas elsewhere
they were sometimes inordinately insistent.
157