DOI Heft:
No. 201 (December, 1909)
DOI Artikel:Brosch, L.: Emma Ciardi painter of old Italian gardens
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20968#0220
Emma Ciardi
minuets of Cimarosa stirred the souls of these and advice), she has pursued her own way, and by
gentle, graceful women who flitted hither and it attained to an entirely individual art. She dis-
thither in all their fine attire like some apparition covered these old parks and gardens with their
in the land of dreams. There are, as we all know, chateaux, and peopled them with sumptuously
certain flowers which we love from afar, flowers clad men and women—masked and powdered crea-
which commit their seeds to the winds or to tures who seemed to have nothing to do but pass
birds as messengers to bring to a poor exile the their time in coquetting and flirting; nor does it
greeting of a distant friend. The more modest require any effort on her part to revive these relics
of them make known their affections only in the of the past, for this vanished world has impressed
deep stillness of twilight. Opening their aromatic itself deeply on her soul.
petals, they seem to draw close to one another, It is from her father that Emma Ciardi has in-
and, holding themselves erect, palpitate with love, herited her lyric temperament, but her conception
This is the story which I read in the old gardens of Nature is her own. With a technique always
painted by Emma Ciardi. characterised by solidity, and a brushstroke at once
Emma Ciardi's father, Guglielmo, the well- broad and vivacious, the qualities which her palette
known landscape painter; his son Beppe, a gifted, unfolds are depth, sincerity, refinement and power,
strenuous painter, and his young daughter, whom Her pictures are pervaded by an aristocratic senti-
we now introduce to the public—these three form ment, in keeping with her own tall, spare, refined
a unique trio to which we find a parallel only figure. Viewed at close quarters, her pictures appear
in the old Venetian art of the Bellinis and to be somewhat confused in technical treatment,
Bastianis. Emma began, when quite a child, to but this indefiniteness is apparent only, for when
draw studiously from Nature, and without ever seen a little way off all the elements blend to-
having had a proper master to direct her training gether in utmost harmony. She has a strong
(apart from her father, who gave her timely hints objection to utilizing the canvas ground, as so
"la portantina" (the sedan chair)
198
(Neue Pinakothek, Munich)
by emma ciardi
minuets of Cimarosa stirred the souls of these and advice), she has pursued her own way, and by
gentle, graceful women who flitted hither and it attained to an entirely individual art. She dis-
thither in all their fine attire like some apparition covered these old parks and gardens with their
in the land of dreams. There are, as we all know, chateaux, and peopled them with sumptuously
certain flowers which we love from afar, flowers clad men and women—masked and powdered crea-
which commit their seeds to the winds or to tures who seemed to have nothing to do but pass
birds as messengers to bring to a poor exile the their time in coquetting and flirting; nor does it
greeting of a distant friend. The more modest require any effort on her part to revive these relics
of them make known their affections only in the of the past, for this vanished world has impressed
deep stillness of twilight. Opening their aromatic itself deeply on her soul.
petals, they seem to draw close to one another, It is from her father that Emma Ciardi has in-
and, holding themselves erect, palpitate with love, herited her lyric temperament, but her conception
This is the story which I read in the old gardens of Nature is her own. With a technique always
painted by Emma Ciardi. characterised by solidity, and a brushstroke at once
Emma Ciardi's father, Guglielmo, the well- broad and vivacious, the qualities which her palette
known landscape painter; his son Beppe, a gifted, unfolds are depth, sincerity, refinement and power,
strenuous painter, and his young daughter, whom Her pictures are pervaded by an aristocratic senti-
we now introduce to the public—these three form ment, in keeping with her own tall, spare, refined
a unique trio to which we find a parallel only figure. Viewed at close quarters, her pictures appear
in the old Venetian art of the Bellinis and to be somewhat confused in technical treatment,
Bastianis. Emma began, when quite a child, to but this indefiniteness is apparent only, for when
draw studiously from Nature, and without ever seen a little way off all the elements blend to-
having had a proper master to direct her training gether in utmost harmony. She has a strong
(apart from her father, who gave her timely hints objection to utilizing the canvas ground, as so
"la portantina" (the sedan chair)
198
(Neue Pinakothek, Munich)
by emma ciardi