Studio: international art (41.1907)

The Venice Exhibition, igoj

pleasant but overpowering, and by too assertive remi-
niscences."

Our survey must here be a rapid one, and, taking
first the Sala di Roma, we find ourselves before Coleman's
and Onorato Carlandi's Roman landscapes, the latter's
Sur le rivage d'Ostia being very admirable in its reserve
and sense of values. Mancini's wonderful portraits,
always vivacious and full of colour, Noci's charming
pastel of a nude figure, a decorative triptych {Horses
of the Siai) by De Karolis—all these are to be noted.
Battaglia, who figured well in the last exhibition, has
here a study of a country girl, and Camillo Innocenti a
charming work La Toilette (p. 273).

In the Piedmontese Room I noted especially the work
of Giacomo Grossi, but the Sala Lombarda arrested my
attention, because here is a school which has in it the
elements of progress. Carcano, who has two paintings
here, is a known figure among the Milanese; and I

decorative panel by a. sartorio

(Photo. Giacomelli, Venice)

have learnt some very useful lessons from
this artistic invasion from beyond the Alps.
"From Rodin to Sargent," says one of their
own critics, "from Meunier to Brangwyn,
from the Scotch group who came forward ^
in 1897 to Zuloaga, who appeared on the
scene in igoi, how many foreigners have in
these few years conquered the sympathies
of Italian art ! And if in the foreign rooms
we come at every step upon originality
which is almost tedious, almost presump-

rooms we are struck more especially by ill-
concealed imitation, by souvenirs which are "martina" (Photo. C. Naya, Venice) by carl larsson

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