DOI issue:
No. 173 (August, 1907)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20775#0276
Studio- Talk
In Conconi's work the influence of his contem-
poraries can be seen, and especially that of
Cremona. His chief characteristic is a contempt
for everything that is merely conventional, and
he willingly sacrifices technique for expression.
Cremona is very strong in chiaroscuro, and for
this reason his crayon drawings, now very rare,
are greatly sought after. Palizzi, the animal
painter, introduced bold innovations into the
Neapolitan school. His little painting of a she-
goat is a precious piece of work. We must not
omit to mention Piccio, whose auto-portrait and
sweet Madonna breathe the true modern spirit.
In the paintings of Signorini the most remarkable
trait is the grandeur of his colouring. Up to the
last years of his life he was a gallant fighter of
the Tuscan school—the"Macchiajuoli"("stainers ")
as they were called.
1 PEASANT WOMAN BY RUTH MILLES
(See Stockholm Studio-Talk)
And now let us pass to living artists. Fragiacomo
is—as he always has been—admirable in tone and
poetic feeling. Mysterious evening voices, soft
twilights, speak in his landscapes, and a sense of
sadness seems to pervade his canvases. In Alba
(The Dawn) one sees Venice at daybreak with its
street lamps still lit; the whole is filled with an
exquisite but robust feeling for truth, the vision
of a sensitive soul. Equally worthy of note
were his Piazza San Marco and his Notturno.
Guglielmo Ciardi, a distinguished and vigorous
golden-brown hue, on which the right colour is painter, keeps his place amongst the leading Italian
afterwards laid, thus achieving
most surprising effects without
ever falling into mannerisms. Par-
ticularly admirable are his skies,
produced with most simple means
and without any display of high-
flown technique. Mose Bianchi
was a disciple of the school of
Hayez. He quickly managed,
however, to emancipate himself
from everything that was purely
academic, and thus freed himself
from old prejudices. Beginning
with the rigid formularies of a school
founded largely on pedantry, he
gradually felt the need of adding to
the historical picture some episode
from actual life. His two paintings
here exhibited, Ritorno alle Capanne
(The Return to the Huts), and In
Brianza, are certainly remarkable
when the origin of this artist is
°, . "THE LITTLE GOOSEHRRD BY RUTH MILLES
taken into consideration. (See Stockholm Studio- 7alk)
246
In Conconi's work the influence of his contem-
poraries can be seen, and especially that of
Cremona. His chief characteristic is a contempt
for everything that is merely conventional, and
he willingly sacrifices technique for expression.
Cremona is very strong in chiaroscuro, and for
this reason his crayon drawings, now very rare,
are greatly sought after. Palizzi, the animal
painter, introduced bold innovations into the
Neapolitan school. His little painting of a she-
goat is a precious piece of work. We must not
omit to mention Piccio, whose auto-portrait and
sweet Madonna breathe the true modern spirit.
In the paintings of Signorini the most remarkable
trait is the grandeur of his colouring. Up to the
last years of his life he was a gallant fighter of
the Tuscan school—the"Macchiajuoli"("stainers ")
as they were called.
1 PEASANT WOMAN BY RUTH MILLES
(See Stockholm Studio-Talk)
And now let us pass to living artists. Fragiacomo
is—as he always has been—admirable in tone and
poetic feeling. Mysterious evening voices, soft
twilights, speak in his landscapes, and a sense of
sadness seems to pervade his canvases. In Alba
(The Dawn) one sees Venice at daybreak with its
street lamps still lit; the whole is filled with an
exquisite but robust feeling for truth, the vision
of a sensitive soul. Equally worthy of note
were his Piazza San Marco and his Notturno.
Guglielmo Ciardi, a distinguished and vigorous
golden-brown hue, on which the right colour is painter, keeps his place amongst the leading Italian
afterwards laid, thus achieving
most surprising effects without
ever falling into mannerisms. Par-
ticularly admirable are his skies,
produced with most simple means
and without any display of high-
flown technique. Mose Bianchi
was a disciple of the school of
Hayez. He quickly managed,
however, to emancipate himself
from everything that was purely
academic, and thus freed himself
from old prejudices. Beginning
with the rigid formularies of a school
founded largely on pedantry, he
gradually felt the need of adding to
the historical picture some episode
from actual life. His two paintings
here exhibited, Ritorno alle Capanne
(The Return to the Huts), and In
Brianza, are certainly remarkable
when the origin of this artist is
°, . "THE LITTLE GOOSEHRRD BY RUTH MILLES
taken into consideration. (See Stockholm Studio- 7alk)
246