Studio: international art — 67.1916

Page: 97
DOI issue: DOI article: DOI Page: Citation link: 
https://digi.ub.uni-heidelberg.de/diglit/studio1916/0102
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Modern Swiss School of Alpine Landscape Art

“HARMONIES TRANQUII.LES”

BY EDOARDO BERTA

voice and his vision sensitive to the great moments
of her self-revelation.

M. Berta is not only a painter, he is an Art
Teacher, and one after Ruskin’s or William Morris’s
own heart. Under the auspices of the Board of
Education of the Canton Tessin he is engaged in
bringing out a work, the “ Monumenti Storici ed
Artistici,” destined to be of immense service to art
students in their studies and to the public in
quickening reverence for what has been in harmony
with the landscape, by keeping before the eye the
most characteristic vestiges of architecture in the
canton. This work stands
in intimate relationship to
M. Berta’s life-work as a
painter. He says “ It is the
crowning result of a whole
series of efforts I have made
as painter, professor, and
member of the Board of
Fine Arts, to call attention
to the beauties of our tradi-
tional art, with a view, if
not of arresting, at least of
diminishing, the degene-
rating effects of certain
aesthetic fashions which, of
late years, have been im-
posed upon us, breaking
the harmony of our build-
ings with the serenity of
our landscape.”

From the foregoing
study I venture to think
I have made it clear that
a school of artists exists in

Switzerland whose work merits the most careful
study. A country which possesses painters of such
varied and commanding gifts as Ferdinand Hodler,
Charles Giron, Paul Robert, Eug. Burnand, Alex.
Perrier, A. Trachsel, Ed. Berta, P. Chiesa, O.
Vautier, etc., not to mention those who have
recently passed away, but whose work is destined
to survive, is artistically vital, and the time has
more than come when the works of the modern
Swiss school should have as fair a chance of being
seen and appreciated in London and New York
as they have long had in Paris and Munich.

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