International studio (50.1913)

Studio- Tcilk


his delightfully conceived Dream of the
Pomegranate. The work of Daniele Ricci
(The Port of Ancona), of Umberto Principe
(The Garden of Melancholy), of Antonio
Discovolo (Serenit a), and of Paolo Feretti
(Vision of the Morning) took a good place
among the landscapes ; and Felice Carena, in
his Study of the Nude, showed his mastery of
the figure—correct, yet absolutely free in
drawing and exquisite in colour.

Lastly the sculpture. Here, from without
Italy, Troubetzkoy and Rodin were formid-
able competitors e and the work of Ivan
Mestrovic—though he is now settled in
Rome—can scarcely be classified as Italian.
His portrait here of Leonardo Bistolfi was
interesting; and a good example of what I
might call his hieratic nudities was his Bas
relief, in Sala XV, the marble being chiselled
with tenderness and a sense of exquisite form.
But after all, with Cataldi in his exquisite
nude of the girl stooping to fill her jar,
D Anfora; with Nicolini in his opulently
formed Dutch Nurse and his group of My
Children ; with Bistolfi—himself the greatest

“BARBARA.” BY ENRICO
LIONNE
(Secession, Rome)

A glance through the
other rooms revealed the
work in painting of Aleardo
Terzi, who in his Morning
of Summer has treated the
nude with brilliant success
in the divisionist method
of technique; of Vittorio
Grassi ( The Owl-catchers),
and of Graziosi in the
same room. Among the
Venetians, Pietro Fragia-
como, Beppe Ciardi,
Ferruccio Scattola, Bezzi
and Zanetti Zilla exhibited
here, the latter with a very
fine painting, La Riva;
while in the same room
with these (Sala XII)
Felice Casorati, a young
painter of Verona whose
work I noted with ap-
proval in Venice, gave us
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“the dream of the pomegranate” (Secession, Rome) by felice casorati