DOI Heft:
No. 79 (October, 1899)
DOI Artikel:Anderton, Isabella Mary: The work of Pietro Fragiacomo
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19783#0016
THE STUDIO
THE WORK OF PIETRO FRA- switch of a passing shower, to interrupt their
GIACOMO BY ISABELLA M translucency with stains of lichen and weather, to
. ,tt<U'^~^-»t harmonise the hardness of their outlines by the
ANDERTON. ' „ • . . . ., . , , , ,. , .
sprouting m their cracks 01 some humble plant
• ; i There is a strange element of me- growth. ',
lancholy in the art of modern Italy, whether Of course there are exceptions, and notable
literary or pictorial. Her painters, especially, turn ones, but we believe we are. warranted in saying
deliberately from the palpitating sunlight and bril- that the younger Italian artists are either realistic
liant shadows that are the passion and the despair in the brutal sense—witness the appalling but
of northern artists come south, and; seek the more excellently modelled Crucifixion which Signor
subdued effects, the greater depth of colouring, Formilli exhibited inFlorence the-year before last—
which are generally supposed to appeal most inti- or, if they do pierce the shows and reach the poetry
mately to the •relatively sentimental dwellers in the of Nature, are attracted rather by the subdued and
north. No Italian paints the sharp outlines and melancholy than by the flare, the luminosity, of
resplendent marbles of Alma-Tadema. Even their translucent atmosphere. .
Muzioli, the Florentine painter, recently dead, An excellent example ot such modern thought
who was known as the Alma-Tadema of Italy, and feeling is the -Venetian painter Pietro Fragia-
and whose treatment of marble was most solid como. Born and bred on the Adriatic, an untiring
and sympathetic—even Muzioli loved to throw rower, a fearless and skilful sailor,1 Fragiacomo's
over his antique seats, parapets, and columns the knowledge of the technicalities of seacraft, together
softening grey of a spring cloud or the sharp with his-long-and wide experience of the varying
" UN SALUTO" FROM A PAINTING BY PIETRO FRAGIACOMO
(In possession of His Majesty the King of Italy)
XVIII. No. 79-— October, 1899. 3
THE WORK OF PIETRO FRA- switch of a passing shower, to interrupt their
GIACOMO BY ISABELLA M translucency with stains of lichen and weather, to
. ,tt<U'^~^-»t harmonise the hardness of their outlines by the
ANDERTON. ' „ • . . . ., . , , , ,. , .
sprouting m their cracks 01 some humble plant
• ; i There is a strange element of me- growth. ',
lancholy in the art of modern Italy, whether Of course there are exceptions, and notable
literary or pictorial. Her painters, especially, turn ones, but we believe we are. warranted in saying
deliberately from the palpitating sunlight and bril- that the younger Italian artists are either realistic
liant shadows that are the passion and the despair in the brutal sense—witness the appalling but
of northern artists come south, and; seek the more excellently modelled Crucifixion which Signor
subdued effects, the greater depth of colouring, Formilli exhibited inFlorence the-year before last—
which are generally supposed to appeal most inti- or, if they do pierce the shows and reach the poetry
mately to the •relatively sentimental dwellers in the of Nature, are attracted rather by the subdued and
north. No Italian paints the sharp outlines and melancholy than by the flare, the luminosity, of
resplendent marbles of Alma-Tadema. Even their translucent atmosphere. .
Muzioli, the Florentine painter, recently dead, An excellent example ot such modern thought
who was known as the Alma-Tadema of Italy, and feeling is the -Venetian painter Pietro Fragia-
and whose treatment of marble was most solid como. Born and bred on the Adriatic, an untiring
and sympathetic—even Muzioli loved to throw rower, a fearless and skilful sailor,1 Fragiacomo's
over his antique seats, parapets, and columns the knowledge of the technicalities of seacraft, together
softening grey of a spring cloud or the sharp with his-long-and wide experience of the varying
" UN SALUTO" FROM A PAINTING BY PIETRO FRAGIACOMO
(In possession of His Majesty the King of Italy)
XVIII. No. 79-— October, 1899. 3