DOI Heft:
No. 240 (March 1913)
DOI Artikel:Brinton, Selwyn John Curwen: The paintings of Paolo Sala
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21160#0112
Paolo Sala
THE PAINTINGS OF PAOLO
SALA. BY SELWYN BRINTON,
MA.
In my notice of the Venice International Art
Exhibition of 1912, published in the September
number of this magazine last year, I took occasion
to mention with special interest and approval the
room devoted to the work of the Lombard Water-
Colour Society (Associazione degli Acquerellisti
Lombardi). I did so because this branch of art,
which has been cultivated for more than a century
so successfully in England, is only now claiming in
Italy a more official position—as apart from the
personal claims which it has often held there; and
because the average of work in this particular room
seemed to me to deserve more than a passing notice.
The paintings of Ferrari, Rossi, Mascarini,
Borsa, and that clever young painter Cesare
Fratino, as well as Bersani's delicious Maternai
Caresses, a plein-air study of great merit, were
there mentioned by me, all these artists, as well
as Mentessi and Carcano himself, being members
of the society; but for pure mastery of technique
none, in my judgment, surpassed the Triumphalis
Hora of the President of the Association, Signor
Paolo Sala. It was a satisfaction to me to see
this work reproduced among the illustrations to my
article on the exhibition ; and it is a still greater
pleasure to be now permitted in the pages of The
Studio to give a more detailed notice of the painter.
The scene of his Triumphalis Hora is un-
doubtedly Milan Cathedra], that wonder of the
Italian Gothic whose interior certainly offers, with
its vague lights and vast depths of shadow, the
most marvellous hints to the artist; but here
he has chosen the moment when the vast shrine
(as I have often seen it) is filled with celebrants
and worshippers, while from the upper windows a
stream of golden sunlight pours down upon the
scene, striking the great pulpit, which is such a
feature of the interior, and seeming to accentuate
the mystery of those shadowy depths beyond. I
will not dilate upon the technical merits of the
painting, which arrested my attention at Venice
the moment I entered the room. I will only say
here that it is a subject admirably adapted for
water-colour, and so handled as to bring out the
fullest possibilities of that difficult medium.
At the Cafe Bififi in the famous Galleria of
'a garden on lago maggiore " (oil painting)
LVIII. No. 240.—March 1913
by faolo sala,
89
THE PAINTINGS OF PAOLO
SALA. BY SELWYN BRINTON,
MA.
In my notice of the Venice International Art
Exhibition of 1912, published in the September
number of this magazine last year, I took occasion
to mention with special interest and approval the
room devoted to the work of the Lombard Water-
Colour Society (Associazione degli Acquerellisti
Lombardi). I did so because this branch of art,
which has been cultivated for more than a century
so successfully in England, is only now claiming in
Italy a more official position—as apart from the
personal claims which it has often held there; and
because the average of work in this particular room
seemed to me to deserve more than a passing notice.
The paintings of Ferrari, Rossi, Mascarini,
Borsa, and that clever young painter Cesare
Fratino, as well as Bersani's delicious Maternai
Caresses, a plein-air study of great merit, were
there mentioned by me, all these artists, as well
as Mentessi and Carcano himself, being members
of the society; but for pure mastery of technique
none, in my judgment, surpassed the Triumphalis
Hora of the President of the Association, Signor
Paolo Sala. It was a satisfaction to me to see
this work reproduced among the illustrations to my
article on the exhibition ; and it is a still greater
pleasure to be now permitted in the pages of The
Studio to give a more detailed notice of the painter.
The scene of his Triumphalis Hora is un-
doubtedly Milan Cathedra], that wonder of the
Italian Gothic whose interior certainly offers, with
its vague lights and vast depths of shadow, the
most marvellous hints to the artist; but here
he has chosen the moment when the vast shrine
(as I have often seen it) is filled with celebrants
and worshippers, while from the upper windows a
stream of golden sunlight pours down upon the
scene, striking the great pulpit, which is such a
feature of the interior, and seeming to accentuate
the mystery of those shadowy depths beyond. I
will not dilate upon the technical merits of the
painting, which arrested my attention at Venice
the moment I entered the room. I will only say
here that it is a subject admirably adapted for
water-colour, and so handled as to bring out the
fullest possibilities of that difficult medium.
At the Cafe Bififi in the famous Galleria of
'a garden on lago maggiore " (oil painting)
LVIII. No. 240.—March 1913
by faolo sala,
89