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#0021
Pietro FragiacomO
' LA CAMPANA DELLA SERA FROM A PAINTING BY PIETRO FRAGIACOMO
"TRAMONTO TRISTE" FR0M A PAINTING BY PIETRO FRAGIACOMO
consequent invisibility of the moon. The atten- then, however, this reason seems to be wanting,
tion of the spectator is thus fixed entirely upon and only the mannerism remains. In the picture
the sea, which, being painted in tempera, is excep- entitled Calima Crefiuscolare (Twilight Calm), for
tionally brilliant. Or again, turn to the little instance, it would surely have been better to cut
mountain scene entitled Tristezza (seepage 4)- "ff Part of the immediate foreground and bring the'
Is not the desolate loneliness of the low houses trees into the position to which their size would
perched on the rising ground and shut in by fog naturally assign them.
behind infinitely increased by the broad, empty When not inspired by the sea, Fragiacomo turns
foreground with its deserted winding pathway? to the mountains of Carnia. He has a mountain
In both these cases there is a decided reason for scene on his easel at present. It represents—
we
the want of balance between the parts. Now and use his own words—a mountain ravine, down which
7
' LA CAMPANA DELLA SERA FROM A PAINTING BY PIETRO FRAGIACOMO
"TRAMONTO TRISTE" FR0M A PAINTING BY PIETRO FRAGIACOMO
consequent invisibility of the moon. The atten- then, however, this reason seems to be wanting,
tion of the spectator is thus fixed entirely upon and only the mannerism remains. In the picture
the sea, which, being painted in tempera, is excep- entitled Calima Crefiuscolare (Twilight Calm), for
tionally brilliant. Or again, turn to the little instance, it would surely have been better to cut
mountain scene entitled Tristezza (seepage 4)- "ff Part of the immediate foreground and bring the'
Is not the desolate loneliness of the low houses trees into the position to which their size would
perched on the rising ground and shut in by fog naturally assign them.
behind infinitely increased by the broad, empty When not inspired by the sea, Fragiacomo turns
foreground with its deserted winding pathway? to the mountains of Carnia. He has a mountain
In both these cases there is a decided reason for scene on his easel at present. It represents—
we
the want of balance between the parts. Now and use his own words—a mountain ravine, down which
7