DOI Heft:
No. 278 (May 1916)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21261#0285
Studio- Talk
“janvier radieux” (International Gallery, Venice) by carlo fornara
MILAN.—In the galleries of the Society
of Fine Arts, commonly known as “ La
Permanente,” there was recently held
a collective exhibition of the works of
Gaetano Previati and Carlo Fornara, two artists
of indisputable merit, though neither of them has
enjoyed here in Milan the recognition due to him.
Among the pictures of Previati in this collective
exhibition the principal interest centred in the
middle panel of a large triptych on the completion
of which the painter is now engaged, representing
The Battle of Legnano, a.d. 1176, a work of great
importance, marking, perhaps, that revival of
historical painting on which the artist has set his
mind; the academic conventions which have
brought this kind of painting into disrepute find
no place in it but are replaced by an extraordinary
feeling of modernity and sincere emotion. The ex-
hibition also contained a number of the artist’s
religious pictures which have been on view in
many parts of the world, among others at the Italian
Exhibition in London some five years ago.
Carlo Fornara is a landscape painter of a quite
different type from Previati, but equally important.
He, too, has had to wait for recognition in his
country; here in Milan indeed the art public did
not begin to appreciate him at his proper worth
until after he had exhibited with success in foreign
countries. It was in fact only his “ one-man ” show
at Venice two years ago that saved him from the
same fate as Segantini. Fornara’s works at the
“ Permanente ” are the best things he has done,
and they are very striking in their freshness and
vivacity of colour; light holds sway in them and
their drawing is impeccable. Such are the Concher
du Soleil, the Matin sur les Alfes, Fin d’Automne
en Val Maggia, Janvier Radieux, and Fontanalba,
with its admirable rendering of light. Fornara’s
work recalls Segantini, and indeed he is the direct
descendant and sole disciple of the great master of
the Engadine. Like his famous predecessor he
has an ardent love for the mountains and has
successfully conveyed their mysterious charm.
A. C. T.
281
“janvier radieux” (International Gallery, Venice) by carlo fornara
MILAN.—In the galleries of the Society
of Fine Arts, commonly known as “ La
Permanente,” there was recently held
a collective exhibition of the works of
Gaetano Previati and Carlo Fornara, two artists
of indisputable merit, though neither of them has
enjoyed here in Milan the recognition due to him.
Among the pictures of Previati in this collective
exhibition the principal interest centred in the
middle panel of a large triptych on the completion
of which the painter is now engaged, representing
The Battle of Legnano, a.d. 1176, a work of great
importance, marking, perhaps, that revival of
historical painting on which the artist has set his
mind; the academic conventions which have
brought this kind of painting into disrepute find
no place in it but are replaced by an extraordinary
feeling of modernity and sincere emotion. The ex-
hibition also contained a number of the artist’s
religious pictures which have been on view in
many parts of the world, among others at the Italian
Exhibition in London some five years ago.
Carlo Fornara is a landscape painter of a quite
different type from Previati, but equally important.
He, too, has had to wait for recognition in his
country; here in Milan indeed the art public did
not begin to appreciate him at his proper worth
until after he had exhibited with success in foreign
countries. It was in fact only his “ one-man ” show
at Venice two years ago that saved him from the
same fate as Segantini. Fornara’s works at the
“ Permanente ” are the best things he has done,
and they are very striking in their freshness and
vivacity of colour; light holds sway in them and
their drawing is impeccable. Such are the Concher
du Soleil, the Matin sur les Alfes, Fin d’Automne
en Val Maggia, Janvier Radieux, and Fontanalba,
with its admirable rendering of light. Fornara’s
work recalls Segantini, and indeed he is the direct
descendant and sole disciple of the great master of
the Engadine. Like his famous predecessor he
has an ardent love for the mountains and has
successfully conveyed their mysterious charm.
A. C. T.
281