Studio: international art (23.1901)

Studio- Talk

Signorini, by Fattori, Cannicci, Gioli, Tommasi
and Chini. _

The coloured etchings by Francesco Vitalini, of
Rome, were much appreciated, as were the lively,
drawings by A. Martini, of Treviso, who has illus-
trated the classic comic poem, " La Secchia
rapita."

Plinio Nomellini exhibited several notable
works in the Ligurian section of the Internationa
Exhibition, his treatment of water being full of
fancy and mysterious sentiment. The picture Tesori,
reproduced on page 285, has just been purchased
by the Government.

Among the Piedmontese Calderini,
Tavernier, and Delleani give further proof
of their abilities ; Bertieri and Thovez
display some new effects, and Giuseppe
Ricci—lately deceased—charms by the
delicate poetry of his religious pictures.

Among the artists of Lombardy the
place of honour is taken by Segantini,
although his portrait is certainly not one
of his best productions. V. Grubicy
in his little landscapes reveals himself
at once as poet and anatomist. Giuseppe
Mentessi, in an audacious triptych,
endeavours to show the vanity of Glory.
Cairati, Belloni and Chiesa are also
worthily represented.

Venetian art is worthily and numer-
ously represented. Mario de Maria, a
forceful artist, complete master of colour
and of solid technique, would seem to
have discovered the secrets of the Old
Masters. Pietro Fragiacomo displays
several landscapes remarkable for no-
bility of sentiment; and Cesare Laurenti,
by means of portraits and a diptych,
reveals his mild and graceful method to
perfection. Impetuous modernity is
seen in the works of Tito; while
interesting in their several ways are the
productions of Ciardi, Chitarin, Bezzi,
Luigi and Lino Selvatico, Milesi, and
Sartorelli. R. P.

COPENHAGEN.— Some two
or three months ago we
published a reproduction of
Professor Stephan Sinding's
latest great work, Terra Mater, and
288

now we have much pleasure in giving illustrations
of three of his most famous previous groups—
works which have won for themselves the highest
honour and an almost world-wide reputation.
They tend to illustrate as it were different stages
in Sinding's artistic development, but they all bear
testimony of his unusual originality and of the rare
pregnancy of his imagination. In the A Mother
with her Dead Son a somewhat rugged power,
coupled with much pathos, is the most distinctive
feature; whilst the later group, Two Human
Beings, is full of restful, tender harmony, however
fervent the embrace in which the man and the
woman cling to each other. Sinding dislikes