DOI Heft:
No. 154 (January, 1906)
DOI Artikel:Brosch, Ludwig: The paintings of Ettore Tito
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20713#0327
Ettore Tito
“THE ROWERS OF THE lagoon” (In the Art Gallery, Buda-Pest) BY ETTORE TITO
When Tito finished his studies at the age of
seventeen he had to think of earning a livelihood.
England was at that time the Eldorado, and offered
the best market for pictures which dealers imported
in large numbers. So he had to fight his way
through life, until he could make himself a name
at Italian exhibitions. Some people denied his
possession of any talent; others encouraged the
lad. He had not only much to learn, but also
much to unlearn, which in art is perhaps the harder
task, when it is a matter of bad habits that have
become ingrain.
At the age of twenty-five he made his mark at
Milan with his picture, The Artist's Model. Amid
surroundings characteristic of the City of the Doges
a girl is walking along towards sunset, and is being
jeered at by a group of loafers. The artist already
showed a definite quality of form, and was little
influenced by Favretto, rather reminding us of Van
Elaanen. He appears to be more firmly in com-
mand of his materials, though somewhat too prone
to the use of bitumen, in his Fishmarket at Venice,
which we reproduce. This picture has the famous
Ca d’Oro in the background, and the lazily-ebbing
waters of the Grand Canal.
Soon after this, Tito was attracted by the new
movement in art, of which there was as yet no
trace in quiet Venice. He discovered anew the
atmosphere and sunshine of Venice, which had
before been depicted with brilliant colouring indeed,
but in a wearisome fashion, the backgrounds being
generally glazed brown with bitumen to conceal the
poverty of colour in the foregrounds.
Lenbach once said: “ Every man is unique.
Everybody has something in him that no one else
has. Everyone can do something that nobody else
can do.” Unfortunately, the pictorial artist must
usually first try everything thoroughly before his
own individuality comes to the front, and many a
painter wastes his whole life in this kind of experi-
menting. Tito himself quite realised this; but,
being a rapid worker, he did not lose much time
over the process, and soon discovered that his
strength did not lie in research, or in the resuscita-
3°9
“THE ROWERS OF THE lagoon” (In the Art Gallery, Buda-Pest) BY ETTORE TITO
When Tito finished his studies at the age of
seventeen he had to think of earning a livelihood.
England was at that time the Eldorado, and offered
the best market for pictures which dealers imported
in large numbers. So he had to fight his way
through life, until he could make himself a name
at Italian exhibitions. Some people denied his
possession of any talent; others encouraged the
lad. He had not only much to learn, but also
much to unlearn, which in art is perhaps the harder
task, when it is a matter of bad habits that have
become ingrain.
At the age of twenty-five he made his mark at
Milan with his picture, The Artist's Model. Amid
surroundings characteristic of the City of the Doges
a girl is walking along towards sunset, and is being
jeered at by a group of loafers. The artist already
showed a definite quality of form, and was little
influenced by Favretto, rather reminding us of Van
Elaanen. He appears to be more firmly in com-
mand of his materials, though somewhat too prone
to the use of bitumen, in his Fishmarket at Venice,
which we reproduce. This picture has the famous
Ca d’Oro in the background, and the lazily-ebbing
waters of the Grand Canal.
Soon after this, Tito was attracted by the new
movement in art, of which there was as yet no
trace in quiet Venice. He discovered anew the
atmosphere and sunshine of Venice, which had
before been depicted with brilliant colouring indeed,
but in a wearisome fashion, the backgrounds being
generally glazed brown with bitumen to conceal the
poverty of colour in the foregrounds.
Lenbach once said: “ Every man is unique.
Everybody has something in him that no one else
has. Everyone can do something that nobody else
can do.” Unfortunately, the pictorial artist must
usually first try everything thoroughly before his
own individuality comes to the front, and many a
painter wastes his whole life in this kind of experi-
menting. Tito himself quite realised this; but,
being a rapid worker, he did not lose much time
over the process, and soon discovered that his
strength did not lie in research, or in the resuscita-
3°9