International studio (53.1914)

Studio-Talk


grandly suggestive, so
fecund in hitherto un-
known expressions, which
escapes from all his works.”
This passage exactly illus-
trates the effect which I
have found created by
these works. Innocenti is
a colourist of the first rank,
whose works, even if they
suggest the influence of
Anglada (though Mancini
was actually his first direct
inspirer), are absolutely
and individually original.
Among the pictures just
exhibited The White Room
and the Black Ribbon re-
newed those cool Whist-
lerian silver-greys which we
noted at Rome in his
pictures of 1911; but in the
Pearl Dress, in which Mme.
Innocenti is his model, in
the Emeralds, an Arabian

was entirely devoted to the paintings of Camillo
Innocenti, an artist of whom we have seen little
at Rome during recent years—for Paris has now
claimed him. Gabriel Mourey wrote of him in
Paris : “ It may be that you are at first surprised,
almost disconcerted, by the lyrical passion of his
language ; but I cannot believe that if you lend him
a little attention you will be long before you
are conquered by the new sonority of the vocabulary
which he uses, and attracted by the music, so

Nights motive, The Sultana, the Evening in Paris
and Yellow Light, we had a series of works which,
set in their dull gold frames against a background
of primrose yellow, were astonishing in their
beauty and richness of colour.
In the sixth room one encountered the work of
Lionne, a colourist of no mean order, as his painting
of a Trastevere Girl proved, the Venetian
Scattola, Frieseke, Grassi and Laurenzi. In Sala

“golden rays
76


BY PAOLO FERRETTI