DOI Heft:
Nr. 208 (July 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20970#0187
Studio-Talk
humanity whose bodies the rays of the setting
sun illuminate with a brilliant glow of light and
warmth, are not only attractive pictures but they
are veracious transcripts of nature. In The Wide
Horizon there is a fine play of light on the white
bathing gowns of the blond and auburn-haired
ladies, while the foaming waves lit up by the sun
make one of the most singular contrasts. The
artist’s picture The Net is painted in bold strokes
and with much verve. The unspeakable charm of
colour and the extraordinary technical facility
displayed in this work, in which we see not only
an impression but expression, excite our admira-
tion. In short it is Tito’s resourceful mastery
of nature’s secrets and his genuine artistic tem-
perament which in these as in other works consti-
tute his great gift. _
Amongst the painters of the Venetian group,
Alessandro Milesi has harked back to the fluid
style of painting, while Trajano Chitarin is all
aglow and semi-bucolic in his E?it7'ance to the Wood,
in which the tree trunk is painted in a fierce red.
In this latter painter’s work the lyric note is always
pronounced.
Coming now to the Lombard group, one must
note with regret that Filippo Carcano is very
meagrely represented. He is a realist to his
finger tips. He has taken scent of the earth with
its many and diverse odours ; he has looked at it
freely and with a keen vision; the verdant, flower-
laden pasture inspires in him only a sentiment of
affection, and he is on terms of friendship with the
rolling clouds, the snowy Alpine peaks and the
mountain brook tumbling and splashing from
rock to rock. Giuseppe Carozzi’s nocturnal land-
scape reveals to us the sympathetic side of this
artist; the intense loneliness of this night, which
he depicts so feelingly, with its transparent veil of
mysterious shadows, inspires one with a sense of
weirdness. The artist’s lyric nature is happily
revealed in this work, and so, too, is his highly
personal outlook._
We may, without any misgiving, pass over the
Tuscan and Neapolitan rooms; nor is there
any need to linger long over the collection of
tempera paintings by Francesco Paolo Michetti.
In the room assigned to young artists most of
the things appear to have already grown old, and
humanity whose bodies the rays of the setting
sun illuminate with a brilliant glow of light and
warmth, are not only attractive pictures but they
are veracious transcripts of nature. In The Wide
Horizon there is a fine play of light on the white
bathing gowns of the blond and auburn-haired
ladies, while the foaming waves lit up by the sun
make one of the most singular contrasts. The
artist’s picture The Net is painted in bold strokes
and with much verve. The unspeakable charm of
colour and the extraordinary technical facility
displayed in this work, in which we see not only
an impression but expression, excite our admira-
tion. In short it is Tito’s resourceful mastery
of nature’s secrets and his genuine artistic tem-
perament which in these as in other works consti-
tute his great gift. _
Amongst the painters of the Venetian group,
Alessandro Milesi has harked back to the fluid
style of painting, while Trajano Chitarin is all
aglow and semi-bucolic in his E?it7'ance to the Wood,
in which the tree trunk is painted in a fierce red.
In this latter painter’s work the lyric note is always
pronounced.
Coming now to the Lombard group, one must
note with regret that Filippo Carcano is very
meagrely represented. He is a realist to his
finger tips. He has taken scent of the earth with
its many and diverse odours ; he has looked at it
freely and with a keen vision; the verdant, flower-
laden pasture inspires in him only a sentiment of
affection, and he is on terms of friendship with the
rolling clouds, the snowy Alpine peaks and the
mountain brook tumbling and splashing from
rock to rock. Giuseppe Carozzi’s nocturnal land-
scape reveals to us the sympathetic side of this
artist; the intense loneliness of this night, which
he depicts so feelingly, with its transparent veil of
mysterious shadows, inspires one with a sense of
weirdness. The artist’s lyric nature is happily
revealed in this work, and so, too, is his highly
personal outlook._
We may, without any misgiving, pass over the
Tuscan and Neapolitan rooms; nor is there
any need to linger long over the collection of
tempera paintings by Francesco Paolo Michetti.
In the room assigned to young artists most of
the things appear to have already grown old, and