Studio: international art (11.1897)

The I Fork of G. Segantini

them on canvas. One, a
landscape, in broad brush
work, seemed to please the
people about it. I saw
nothing particular beyond
the broad strokes. For
these people then, T
thought, the beauty of
painting lies in painting
with a big brush.

"Thinking of all that I
found the light was failing
and the lamps were light-
ing down the street. . . .

" That night I told my
friend, a student of sculp-
ture at the Academy, that
the exhibition had not im-
pressed me. He smiled
with compassion, and told

me I knew nothing of art. . . . We parted with The Choir of the Church of San Antonio. I cer-
some coldness. . . . tainly did not intend to produce a work of art, but

" The next day I entered the elementary Figure only to try my strength in painting,
class at the Academy, where I was already taking "Through an open window a torrent of light fell
the evening course of Ornament. upon the carved stalls of the choir. In endeavour-

" I remained there a few months, long enough ing to paint this effect I found that mixing the
to convince me of the uselessness of academic in- colours on my palette gave me neither light nor
struction for those born with a soul for art; of the truth, but that using colours pure and laying them
damage the academies do real art in turning out a side by side upon the canvas, in the quantities I
lot of painters who are not artists. should have used in mixing upon the palette, and

" During that time I made my first oil-painting, so leaving the eye, looking at the painting from the

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STUDY BY G- SEGANTINI

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STUDY FOR "AVE MARIA A TRASRORDO" BY G. SEGAXT1XI

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