DOI issue:
No. 198 (September, 1908)
DOI article:Pica, Vittorio: Italian art at the Venice International Exhibition
DOI Page / Citation link:https://doi.org/10.11588/diglit.20967#0304
Italian Art at the Venice International Exhibition
seem to linger with the greatest pleasure, is that of
Ettore Tito, who exhibits forty-five pictures, large
and small. Tito is a keen observer of Venetian
life, a brilliant colourist, sensuous and emotional,
unsurpassed as a draughtsman, excelling in popular
subjects, and full of vivacity and brio.
Another typical exponent of modern Venetian
painting, free and dashing, is Guglielmo Ciardi, who
excels in landscapes and sea pieces. He generally
turns for inspiration to the ancient and glorious
Queen of the Adriatic, and reproduces now with
delicacy, now with vigour, the perennial beauties of
the City of the Lagoons, or the varied aspects of
sea, lakes, rivers, mountains and plains of Italy,
from the extreme north to the remote south of the
peninsula. Side by side with Guglielmo Ciardi, who
though now close on sixty-seven is still hard at work
and full of energy, we must mention his son and
daughter, Beppe and Emma,
worthy offspring of their father.
Beppe Ciardi exhibits a lu-
minous and powerful Alpine
scene, also a perfectly charm-
ing picture of children at play
in a meadow, while Emma
Ciardi shows two poetically
suggestive Italian villas peopled
with seventeenth-century
figures, a genre of which she
has made quite a speciality.
Of Mario de Maria, who for so
many years preferred to be
known by the romantic pseu-
donym of “ Marius Pictor,” I
have already more than once
had occasion to speak to the
readers of The Studio. As I
have told them, I consider him
to be one of Italy’s most expres-
sive and original painters, one
of whom Italy is justly proud.
Of his imagination, often weird
and whimsical, of the peculiarity
of his style and principal tenden-
cies, of his elaborate technique
and enlightenment, we have
evidence in the numerous can-
vases portraying so many dif-
ferent subjects and impressions
that now so worthily represent
him in Venice.
Hard by the two Venetians,
Tito and Ciardi, the Bolognese,
De Maria, and the Ligurian,
270
Cesare Tallone, whose ability as^'a portraitist is
represented by works of unequal merit, are the
Tuscan, Francesco Gioli, the Triestian, Girolamo
Cairati, and the Sicilian, Ettore de Maria-Bergler.
One and all—whether in oils or pastels—they
have depicted the different well-defined charac-
teristics of Italy from north to south.
The Roman painter, Camillo Innocenti, stands
pre-eminent. He was requested by the jury of the
Exhibition to make a special exhibit of his works
—a great distinction, as he is still a comparatively
young man. Of such a high tribute Innocenti
was well worthy, as he is without question the
most brilliantly endowed of the young artists
whose talents have been discovered and en-
couraged by the biennial exhibitions in Venice.
We admire in him the infinite variety and deli-
cacy, the ability he shows in reproducing his
“ RADIEUSE
BY ARTURO NOCI
seem to linger with the greatest pleasure, is that of
Ettore Tito, who exhibits forty-five pictures, large
and small. Tito is a keen observer of Venetian
life, a brilliant colourist, sensuous and emotional,
unsurpassed as a draughtsman, excelling in popular
subjects, and full of vivacity and brio.
Another typical exponent of modern Venetian
painting, free and dashing, is Guglielmo Ciardi, who
excels in landscapes and sea pieces. He generally
turns for inspiration to the ancient and glorious
Queen of the Adriatic, and reproduces now with
delicacy, now with vigour, the perennial beauties of
the City of the Lagoons, or the varied aspects of
sea, lakes, rivers, mountains and plains of Italy,
from the extreme north to the remote south of the
peninsula. Side by side with Guglielmo Ciardi, who
though now close on sixty-seven is still hard at work
and full of energy, we must mention his son and
daughter, Beppe and Emma,
worthy offspring of their father.
Beppe Ciardi exhibits a lu-
minous and powerful Alpine
scene, also a perfectly charm-
ing picture of children at play
in a meadow, while Emma
Ciardi shows two poetically
suggestive Italian villas peopled
with seventeenth-century
figures, a genre of which she
has made quite a speciality.
Of Mario de Maria, who for so
many years preferred to be
known by the romantic pseu-
donym of “ Marius Pictor,” I
have already more than once
had occasion to speak to the
readers of The Studio. As I
have told them, I consider him
to be one of Italy’s most expres-
sive and original painters, one
of whom Italy is justly proud.
Of his imagination, often weird
and whimsical, of the peculiarity
of his style and principal tenden-
cies, of his elaborate technique
and enlightenment, we have
evidence in the numerous can-
vases portraying so many dif-
ferent subjects and impressions
that now so worthily represent
him in Venice.
Hard by the two Venetians,
Tito and Ciardi, the Bolognese,
De Maria, and the Ligurian,
270
Cesare Tallone, whose ability as^'a portraitist is
represented by works of unequal merit, are the
Tuscan, Francesco Gioli, the Triestian, Girolamo
Cairati, and the Sicilian, Ettore de Maria-Bergler.
One and all—whether in oils or pastels—they
have depicted the different well-defined charac-
teristics of Italy from north to south.
The Roman painter, Camillo Innocenti, stands
pre-eminent. He was requested by the jury of the
Exhibition to make a special exhibit of his works
—a great distinction, as he is still a comparatively
young man. Of such a high tribute Innocenti
was well worthy, as he is without question the
most brilliantly endowed of the young artists
whose talents have been discovered and en-
couraged by the biennial exhibitions in Venice.
We admire in him the infinite variety and deli-
cacy, the ability he shows in reproducing his
“ RADIEUSE
BY ARTURO NOCI