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#0113
Paolo Sala
Milan last spring I generally found about lunch-
time a little gathering of artists, over whom that
veteran capo-scuola of Lombard landscape, Filippo
Carcano, seldom failed to preside with his genial
presence and Olympian serenity. It was a gather-
ing that varied from day to day as one or another
left or came into the circle from without; but
besides others whose work is well known in the
exhibitions of the Societa Permanente, I rarely
missed seeing Count Carlo Zen—who, though not
himself, I believe, a painter, is a lover and col-
lector of pictures—and the artist who is the sub-
ject of this notice.
I have little doubt in my own mind that if I
were to drop into the Galleria to-morrow, coming
into the city by the Simplon or St. Gothard express,
I should find the little coterie occupying their
accustomed table; and I have even less doubt
that it was there, and amid these genial surround-
ings, that the first idea of the Lombard Water-
Colour Society mentioned above took its genesis.
If this exquisite and essentially modern art of
acquerelle could flourish (I seem to hear them say)
at Rome under the inspiring influence of Onorato
Carlandi, should Milan, herself an incarnation of
the modernity of this new Italy, remain deaf to its
appeal ? And very soon the idea of the new
society formed itself, with for its president Paolo
Sala, its vice-president Filippo Carcano, and on its
committee Leonardo Bazzaro, Gola, Rossi, Bel-
trame, Renzo Weiss, and Arturo Ferrari.
No better selection could have been made
either for the president or vice-president, for
Filippo Carcano, besides his high and established
position in the art of Milan, possesses, as I know
well, a simply marvellous facility in acquerelle.
Bazzaro, I believe, came first before the public as
an aquarellist with a charmingplein-air {My Studio
in the Country) in the exhibition of this newly
formed society, which was held in the fine rooms
of the Societa Permanente de' Belle Arte at Milan
in April of 1911, with a total of three hundred
and fifty-two water-colour paintings and one hun-
dred and twenty-three exhibitors. Signor Sala, the
president, was represented there by pictures (The
Soul of the Rose, Impressions of London, Piccadilly
Circus, Surprised by the Wind) which I shall
mention later in detail; and I understand that
the second exhibition of the society, in the early
part of this winter, was no less successful.
'A HOT DAY IN THE MOUNTAINS" (WATER-COLOUR) BY PAOLO SALA
90
Milan last spring I generally found about lunch-
time a little gathering of artists, over whom that
veteran capo-scuola of Lombard landscape, Filippo
Carcano, seldom failed to preside with his genial
presence and Olympian serenity. It was a gather-
ing that varied from day to day as one or another
left or came into the circle from without; but
besides others whose work is well known in the
exhibitions of the Societa Permanente, I rarely
missed seeing Count Carlo Zen—who, though not
himself, I believe, a painter, is a lover and col-
lector of pictures—and the artist who is the sub-
ject of this notice.
I have little doubt in my own mind that if I
were to drop into the Galleria to-morrow, coming
into the city by the Simplon or St. Gothard express,
I should find the little coterie occupying their
accustomed table; and I have even less doubt
that it was there, and amid these genial surround-
ings, that the first idea of the Lombard Water-
Colour Society mentioned above took its genesis.
If this exquisite and essentially modern art of
acquerelle could flourish (I seem to hear them say)
at Rome under the inspiring influence of Onorato
Carlandi, should Milan, herself an incarnation of
the modernity of this new Italy, remain deaf to its
appeal ? And very soon the idea of the new
society formed itself, with for its president Paolo
Sala, its vice-president Filippo Carcano, and on its
committee Leonardo Bazzaro, Gola, Rossi, Bel-
trame, Renzo Weiss, and Arturo Ferrari.
No better selection could have been made
either for the president or vice-president, for
Filippo Carcano, besides his high and established
position in the art of Milan, possesses, as I know
well, a simply marvellous facility in acquerelle.
Bazzaro, I believe, came first before the public as
an aquarellist with a charmingplein-air {My Studio
in the Country) in the exhibition of this newly
formed society, which was held in the fine rooms
of the Societa Permanente de' Belle Arte at Milan
in April of 1911, with a total of three hundred
and fifty-two water-colour paintings and one hun-
dred and twenty-three exhibitors. Signor Sala, the
president, was represented there by pictures (The
Soul of the Rose, Impressions of London, Piccadilly
Circus, Surprised by the Wind) which I shall
mention later in detail; and I understand that
the second exhibition of the society, in the early
part of this winter, was no less successful.
'A HOT DAY IN THE MOUNTAINS" (WATER-COLOUR) BY PAOLO SALA
90