DOI Heft:
No. 51 (June 1897)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18389#0072
Studio-Talk
"abele" bv carlo balestrini
all know him to be, but displays, on a very limited the figure of a soldier, full of life and heroic
canvas, an intense sentiment of melancholy. The animation — worthy memorial of an ever-famous
two sailors' wives standing in the boat, praying victory.
before the statue of the Virgin, tell the whole G. B.
sorrowful tale. This is, in truth, a finished picture,
which must have been deeply felt before it was m RESDEN.—On May i the first In-
painted, and in which, in addition to the splendid \ ternational Exhibition of Fine Arts
colouring, there is the true note of passion. Less I at Dresden was opened in presence
effective pictorially, but of equal depth of senti- ' M of its royal patron, King Albert. I
ment, is the canvas entitled Abele, by C. Balestrini, am not in a position to say that the
one of the youngest yet most earnest among the standard of the pictures is higher than what one is
exhibitors. In his Cristo e V Umanita, Signor F. accustomed to at other shows of a like kind, but
Carcano has wandered into the region of mysti- the arrangement and mise-en-scene of the whole
cism ; but his splendid gifts are more worthily exhibition is superior to any that I have seen so
displayed in his other picture, representing the far. Usually huge rooms are hung with canvases
Ghiacciajo di Cambrena. in such a manner as to excite one's admiration for
- the men who have succeeded in fitting all the
"W orthy of mention in their several ways are different sized frames together in such a way as to
La Lavandula of E. Gola; LAntro, by S. Bersani; leave hardly a square foot of the wall visible.
Via Aspra, by C. Laurenti; Vita Sempllce, by M. Scarcely ever do two adjacent pictures harmonise,
Bianchi; also the portraits by C. Cressini, G. and the four walls of a single room, let alone the
Belloni, G. Grosso, A. Cagnoni, and R. Galli; whole show, are enough to tire nine-tenths of the
the landscapes by A. Calderini, G. Carrozzi, C. public. In the Dresden show there are, as a rule,
Pugliese-Levi, and G. Ciardi; and E. Longoni's only two rows of pictures on the walls, with suffi-
stuclies. _ cjent Space between the frames. Pictures, works
of sculpture and applied arts are intermingled, so
In the sculpture there is little that is remarkable, as not to weary the eye with the presentation of an
except a most beautiful statue by E. Butti, destined endless surface of one kind of work. Altogether,
to form part of the Monumento alia Battaglla di each room is arranged as nearly as possible in the
Legnano. This is really one of the finest pieces of manner that a private collector of taste would
sculpture produced of recent years in Italy. It is arrange his house, and the wearisome museum
57
"abele" bv carlo balestrini
all know him to be, but displays, on a very limited the figure of a soldier, full of life and heroic
canvas, an intense sentiment of melancholy. The animation — worthy memorial of an ever-famous
two sailors' wives standing in the boat, praying victory.
before the statue of the Virgin, tell the whole G. B.
sorrowful tale. This is, in truth, a finished picture,
which must have been deeply felt before it was m RESDEN.—On May i the first In-
painted, and in which, in addition to the splendid \ ternational Exhibition of Fine Arts
colouring, there is the true note of passion. Less I at Dresden was opened in presence
effective pictorially, but of equal depth of senti- ' M of its royal patron, King Albert. I
ment, is the canvas entitled Abele, by C. Balestrini, am not in a position to say that the
one of the youngest yet most earnest among the standard of the pictures is higher than what one is
exhibitors. In his Cristo e V Umanita, Signor F. accustomed to at other shows of a like kind, but
Carcano has wandered into the region of mysti- the arrangement and mise-en-scene of the whole
cism ; but his splendid gifts are more worthily exhibition is superior to any that I have seen so
displayed in his other picture, representing the far. Usually huge rooms are hung with canvases
Ghiacciajo di Cambrena. in such a manner as to excite one's admiration for
- the men who have succeeded in fitting all the
"W orthy of mention in their several ways are different sized frames together in such a way as to
La Lavandula of E. Gola; LAntro, by S. Bersani; leave hardly a square foot of the wall visible.
Via Aspra, by C. Laurenti; Vita Sempllce, by M. Scarcely ever do two adjacent pictures harmonise,
Bianchi; also the portraits by C. Cressini, G. and the four walls of a single room, let alone the
Belloni, G. Grosso, A. Cagnoni, and R. Galli; whole show, are enough to tire nine-tenths of the
the landscapes by A. Calderini, G. Carrozzi, C. public. In the Dresden show there are, as a rule,
Pugliese-Levi, and G. Ciardi; and E. Longoni's only two rows of pictures on the walls, with suffi-
stuclies. _ cjent Space between the frames. Pictures, works
of sculpture and applied arts are intermingled, so
In the sculpture there is little that is remarkable, as not to weary the eye with the presentation of an
except a most beautiful statue by E. Butti, destined endless surface of one kind of work. Altogether,
to form part of the Monumento alia Battaglla di each room is arranged as nearly as possible in the
Legnano. This is really one of the finest pieces of manner that a private collector of taste would
sculpture produced of recent years in Italy. It is arrange his house, and the wearisome museum
57