DOI issue:
No. 277 (April 1916)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21261#0202
Studio-Talk
MILAN. — The annual exhibition at
the “Permanente” organised by the
Society of Fine Arts, always an event
of first-rate importance in the annals
of modern Italian art, cannot be said to have been
in all respects a success this year, owing mainly
of course to the exceptional circumstances amid
which we are living, though in regard to the
general arrangement of the display a marked
improvement was perceptible. But several artists
whose works in past years have rarely failed to
arouse enthusiasm at these shows were entirely
unrepresented, such as Paolo Sala, Pompeo
Mariami, Cesare Tallone, and Gaetano Previati;
and their place was taken by a crowd of young
artists, most of them quite unknown and very few
of them showing any such freshness of conception
or technical ability as might have justified the
committee of selection in accepting their work.
Nor were the older painters of Lombardy repre-
sented at their best, though in certain cases the
work was not unworthy of the renown they have
earned. Thus of two pictures by Leonardo Bazzaro,
the one entitled My Friends exemplified admirably
the type of painting into which he is wont to infuse
all the charm which his artistic soul can conjure
forth. Giorgio Belloni’s Cloudy Weather, a harbour
scene, and Chestnut Wood were notable for the able
way in which atmospheric conditions of contrasted
kinds were rendered, and Lodovico Cavalieri’s
marine painting In the Harbour and his vernal
landscape First Flowers were both interesting.
Two landscapes by Roberto Borsa unfortu-
nately suffered from juxtaposition to a number of
unimportant works. Raffaele Armenise and Mario
Bezzola showed good landscapes, and Carlo Bale-
strini revealed himself as a fine painter of snow
effects in his Tempest on the Simplon Road and
The Wet Dock, Port of Genoa. Carlo Agazzi’s
three landscapes in the same room displayed
excellent use of colour.
Among the young men, two in particular must
be named as having impressed critics and public
alike—T. de Francesco and Dante Comelli.
MILAN. — The annual exhibition at
the “Permanente” organised by the
Society of Fine Arts, always an event
of first-rate importance in the annals
of modern Italian art, cannot be said to have been
in all respects a success this year, owing mainly
of course to the exceptional circumstances amid
which we are living, though in regard to the
general arrangement of the display a marked
improvement was perceptible. But several artists
whose works in past years have rarely failed to
arouse enthusiasm at these shows were entirely
unrepresented, such as Paolo Sala, Pompeo
Mariami, Cesare Tallone, and Gaetano Previati;
and their place was taken by a crowd of young
artists, most of them quite unknown and very few
of them showing any such freshness of conception
or technical ability as might have justified the
committee of selection in accepting their work.
Nor were the older painters of Lombardy repre-
sented at their best, though in certain cases the
work was not unworthy of the renown they have
earned. Thus of two pictures by Leonardo Bazzaro,
the one entitled My Friends exemplified admirably
the type of painting into which he is wont to infuse
all the charm which his artistic soul can conjure
forth. Giorgio Belloni’s Cloudy Weather, a harbour
scene, and Chestnut Wood were notable for the able
way in which atmospheric conditions of contrasted
kinds were rendered, and Lodovico Cavalieri’s
marine painting In the Harbour and his vernal
landscape First Flowers were both interesting.
Two landscapes by Roberto Borsa unfortu-
nately suffered from juxtaposition to a number of
unimportant works. Raffaele Armenise and Mario
Bezzola showed good landscapes, and Carlo Bale-
strini revealed himself as a fine painter of snow
effects in his Tempest on the Simplon Road and
The Wet Dock, Port of Genoa. Carlo Agazzi’s
three landscapes in the same room displayed
excellent use of colour.
Among the young men, two in particular must
be named as having impressed critics and public
alike—T. de Francesco and Dante Comelli.