The Venice Exhibition, igoy
mm
"SAND-CARRIERS BY FRANCESCO GIOLI
would point out a clever painting by Emilio Gola, In the next Venetian Room (Sala XXV.) we
Beside the Wharf, as well as Borsa's Winter shall notice the work of the three Ciardi. Beppo,
Evening. the younger Ciardi, has here a canvas full of light
Passing through the Sala Emiliana, with Majani's in his Sourires; but personally I find myself strongly
charming moonlight study Le hameau dort, and attracted by Signorina Emma Ciardi's Paroles
Scattola's Assisi, we come, in the Sala Toscana, to Antiques, where the terrace, with its white sculpture
the art of modem Florence. Here Luigi Gioli and monumental cypresses, with its masked figure
comes before us with his Volterra Fair and his from the Venice of Goldoni, has something of the
clever study of horses in the Pisan plain treading indefinable charm of the great Bocklin's Todten
out the corn. Here, too, are Nomellini's Love and Insel. Here, too, that excellent Venetian artist
Leaves (p. 273), Francesco Gioli's Sand-Carriers Vincenzo de Stefani, who figured well in the last
(above); and near it is a sunset, very good in exhibition, has two paintings, a study of a young
colour, and a group of naked children dancing on girl in white and a beautiful sunset, The Evening
the Tyrrhenian strand, which he calls Youth. LLarmony. Here, too, is Milesi's portrait of Giosiih
In the South Italian room De Maria Bergler's Cardiccci, the poet whom all Italy this spring has
studies of Taormina (the smaller are here the best) mourned (p. 270) ; and here Vizzotto, in his
and Viole are to be noted, with the work of De Sirlnes, gives just the impression of a "burrasco"—
Sanctis and Tafuri. And now we come to the a squall such as sometimes comes up at short
Venetians themselves. Dall' Oca Bianca and De notice on these lagoons; while Sormani {Sur le
Blaas have wandered off into the South Italian Mole) has a quieter scene of nightfall at Venice,
room—the latter almost too smooth and sweet in Of the sculpture in these Italian rooms I need
his Girls of Campalto, the former full of piquancy not speak at any length. The central group in the
and vivacity in his Ctvette. Roman Sala, La Vetidange, with its figures of men
In the first Venetian Room Laurenti figures and a girl, is ambitious and sound in modelling,
largely with eighteen canvases. The most attractive But one of the most delightful things in the whole
to- me is his Pitorno, a girl in green dress, where exhibition is a little bronze of a dancing girl,
the whole conception seems reminiscent of Palma Printemps, by Rosales. This gem has been secured
Vecchio. Laurenti is no longer among the younger by the State for the National Gallery at Rome,
men (he was born in 1854), but is a fine and serious Antonio Ugo, whose group of a peasant mother
artist, who has followed his art into other branches, and child (Maternile) is among our illustrations,
such as sculpture and even architecture. (p. 278) also claims notice. Ugo is a Sicilian, and
277
mm
"SAND-CARRIERS BY FRANCESCO GIOLI
would point out a clever painting by Emilio Gola, In the next Venetian Room (Sala XXV.) we
Beside the Wharf, as well as Borsa's Winter shall notice the work of the three Ciardi. Beppo,
Evening. the younger Ciardi, has here a canvas full of light
Passing through the Sala Emiliana, with Majani's in his Sourires; but personally I find myself strongly
charming moonlight study Le hameau dort, and attracted by Signorina Emma Ciardi's Paroles
Scattola's Assisi, we come, in the Sala Toscana, to Antiques, where the terrace, with its white sculpture
the art of modem Florence. Here Luigi Gioli and monumental cypresses, with its masked figure
comes before us with his Volterra Fair and his from the Venice of Goldoni, has something of the
clever study of horses in the Pisan plain treading indefinable charm of the great Bocklin's Todten
out the corn. Here, too, are Nomellini's Love and Insel. Here, too, that excellent Venetian artist
Leaves (p. 273), Francesco Gioli's Sand-Carriers Vincenzo de Stefani, who figured well in the last
(above); and near it is a sunset, very good in exhibition, has two paintings, a study of a young
colour, and a group of naked children dancing on girl in white and a beautiful sunset, The Evening
the Tyrrhenian strand, which he calls Youth. LLarmony. Here, too, is Milesi's portrait of Giosiih
In the South Italian room De Maria Bergler's Cardiccci, the poet whom all Italy this spring has
studies of Taormina (the smaller are here the best) mourned (p. 270) ; and here Vizzotto, in his
and Viole are to be noted, with the work of De Sirlnes, gives just the impression of a "burrasco"—
Sanctis and Tafuri. And now we come to the a squall such as sometimes comes up at short
Venetians themselves. Dall' Oca Bianca and De notice on these lagoons; while Sormani {Sur le
Blaas have wandered off into the South Italian Mole) has a quieter scene of nightfall at Venice,
room—the latter almost too smooth and sweet in Of the sculpture in these Italian rooms I need
his Girls of Campalto, the former full of piquancy not speak at any length. The central group in the
and vivacity in his Ctvette. Roman Sala, La Vetidange, with its figures of men
In the first Venetian Room Laurenti figures and a girl, is ambitious and sound in modelling,
largely with eighteen canvases. The most attractive But one of the most delightful things in the whole
to- me is his Pitorno, a girl in green dress, where exhibition is a little bronze of a dancing girl,
the whole conception seems reminiscent of Palma Printemps, by Rosales. This gem has been secured
Vecchio. Laurenti is no longer among the younger by the State for the National Gallery at Rome,
men (he was born in 1854), but is a fine and serious Antonio Ugo, whose group of a peasant mother
artist, who has followed his art into other branches, and child (Maternile) is among our illustrations,
such as sculpture and even architecture. (p. 278) also claims notice. Ugo is a Sicilian, and
277