DOI issue:
Nr. 224 (October, 1915)
DOI article:Brinton, Christian: Foreign painting at the Panama-Pacific exposition, [2]
DOI Page / Citation link:https://doi.org/10.11588/diglit.43459#0385
Foreign Painting at the Panama-Pacific Exposition
detail the heroic life struggle of the painter of
Alpine scene, who became one of the imperish-
able masters of the closing years of the last
century. Though neither Morelli nor Segantini
is represented in the Palace of Fine Arts, we have,
in partial compensa¬
tion, an interesting
group of men mainly
from Rome, with a
casual sprinkling of
Venetians.
Conceived along
the same conserva¬
tive, not to say con¬
ventional, lines as
the French Section,
the Italians never¬
theless appear to
distinctly better ad¬
vantage, owing to
the unique effective¬
ness of their instal¬
lation. You here ob¬
serve the influence
of Vienna, which
comes to us via
Venice, for in these
spacious, bright-
toned galleries you
may readily fancy
yourself at one of
those admirable ex¬
positions in the
Giardini Pubblici
which have done so
much to stimulate
southern European
taste. Prominent
among the exhibitors
at San Francisco is
the amazing Man¬
cini, who sends three
pseudo portraits, sur¬
charged with pig¬
ment and saturated
quartette of canvases, the best of which is The,
Green Shawl which, by the by, is the earliest in
date. If Innocenti has become a modified,
mundane impressionist, Ettore Tito remains a
fluent exponent of genre and figure painting who,
likewise, appears to
more purpose with
an older work, The
Procession, which
carries one’s memo-
ries back a full score
of years to the Venice
Exposition of 1895.
A glance about
the galleries will be
sufficient to disclose
a number of excel-
lent works, among
which must not be
overlooked Giuseppe
Mentessi’s austere
and imaginative fan-
tasy entitled The
Sozil of the Stones,
Emma Ciardi’s The
Avenue: Boboli Gar-
dens, and two sen-
suous colour invo-
cations by Enrico
Lionne, designated
respectively as Red
Roses and The Re-
turn of Divine Love.
The latter contrib-
utes the only mod-
ern note to a display
the significance of
which would have
been considerably
augmented by a rea-
sonable concession to
more progressive
taste. One regrets
in particular the en-
tire absence of the
Italian Section, Panama-Pacific Exposition
with sheer Latin
lusciousness of tone.
The magician of the Via Margutta is in-
deed incomparable as ever, and quite obliter-
ates his associates. The prismatic palette of
Camillo Innocenti, which has lately acquired a
certain Gallic grace, is seen to advantage in a
Divisionist School,
already referred to,
which owes its inception to Segantini and Previati.
This group, which includes such unquestioned
talents as Carlo Fornara, Cinotti, Ramponi,
Zanon, and others, appeared with signal success
at the Latin-British Exhibition at Shepherd’s
THE BOHEMIAN
BY ANTONIO MANCINI
XCI
detail the heroic life struggle of the painter of
Alpine scene, who became one of the imperish-
able masters of the closing years of the last
century. Though neither Morelli nor Segantini
is represented in the Palace of Fine Arts, we have,
in partial compensa¬
tion, an interesting
group of men mainly
from Rome, with a
casual sprinkling of
Venetians.
Conceived along
the same conserva¬
tive, not to say con¬
ventional, lines as
the French Section,
the Italians never¬
theless appear to
distinctly better ad¬
vantage, owing to
the unique effective¬
ness of their instal¬
lation. You here ob¬
serve the influence
of Vienna, which
comes to us via
Venice, for in these
spacious, bright-
toned galleries you
may readily fancy
yourself at one of
those admirable ex¬
positions in the
Giardini Pubblici
which have done so
much to stimulate
southern European
taste. Prominent
among the exhibitors
at San Francisco is
the amazing Man¬
cini, who sends three
pseudo portraits, sur¬
charged with pig¬
ment and saturated
quartette of canvases, the best of which is The,
Green Shawl which, by the by, is the earliest in
date. If Innocenti has become a modified,
mundane impressionist, Ettore Tito remains a
fluent exponent of genre and figure painting who,
likewise, appears to
more purpose with
an older work, The
Procession, which
carries one’s memo-
ries back a full score
of years to the Venice
Exposition of 1895.
A glance about
the galleries will be
sufficient to disclose
a number of excel-
lent works, among
which must not be
overlooked Giuseppe
Mentessi’s austere
and imaginative fan-
tasy entitled The
Sozil of the Stones,
Emma Ciardi’s The
Avenue: Boboli Gar-
dens, and two sen-
suous colour invo-
cations by Enrico
Lionne, designated
respectively as Red
Roses and The Re-
turn of Divine Love.
The latter contrib-
utes the only mod-
ern note to a display
the significance of
which would have
been considerably
augmented by a rea-
sonable concession to
more progressive
taste. One regrets
in particular the en-
tire absence of the
Italian Section, Panama-Pacific Exposition
with sheer Latin
lusciousness of tone.
The magician of the Via Margutta is in-
deed incomparable as ever, and quite obliter-
ates his associates. The prismatic palette of
Camillo Innocenti, which has lately acquired a
certain Gallic grace, is seen to advantage in a
Divisionist School,
already referred to,
which owes its inception to Segantini and Previati.
This group, which includes such unquestioned
talents as Carlo Fornara, Cinotti, Ramponi,
Zanon, and others, appeared with signal success
at the Latin-British Exhibition at Shepherd’s
THE BOHEMIAN
BY ANTONIO MANCINI
XCI