DOI Heft:
No. 282 (September 1916)
DOI Artikel:Ganz, Henry Francis William: Modern Italian graphic art
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21262#0226
Italian Graphic Art
Turning to the etchings and aquatints we must
note first of all the contributions of Aristide
Sartorio, an artist well known to readers of this
magazine, but now unfortunately a prisoner of war,
who exhibited two etchings, powerful compositions
of tragic energy, Lot/a Regale and Mostri Immani,
portraying the struggles of wild animals. Typical
of a certain impending tragedy were the two war
studies of Anselmo Bucci, The Gun and Shrapnel,
etchings which in their bold and simple execu-
tion showed evidence of a study of actuality at
first hand. Gifts of an altogether different kind
were discernible in Giuseppe Graziosi's bold plates
and effective large decorative subjects of monu-
mental fountain figures, which in the manner of
their simple and vigorous execution exhibit the true
etcher's art of red-hot impression before Nature.
Procession of the Relics by Umberto Prencipe
displayed with great power on a plate of rather
large dimensions a subject of an overpowering
architectonic feature rendered as a nocturne.
206
Ubaldo Magavacca had a fine aquatint, The Apse
of the Cathedral of Modena, and Giovanni Greppi
showed a delicate one in // Duotno, Milano, with
its lace-like pinnacles foaming like spray into the
sky. The same structure was the subject of an
excellent etching by Carlo Casanova entitled The
Soul of the Cathedral, an' illustration of which
was given in the June number of The Studio.
Ludovico Cavaleri showed several subjects of
marine and fishing-boat life. Among the more
simple transcripts from Nature were to be found
R. Borsa's Canal Sta. Romana and Carlo Agazzi's
Lombardy Plains. Gubbio, by M. Disertori, is etched
in a bold style with its wide open lines suggestive
of a wood engraving ; and there were five miniature
etchings by Enrico Vegetti, of which Cluny and
St Michele Monza were carried out with a certain
spiritual quality of vision. Carlo Cressini's etching
of a leafless tree against the gathering storm clouds
is very fine in effect. We found in Chiappelli's
Certosa a strong personal view and a restraint in
Turning to the etchings and aquatints we must
note first of all the contributions of Aristide
Sartorio, an artist well known to readers of this
magazine, but now unfortunately a prisoner of war,
who exhibited two etchings, powerful compositions
of tragic energy, Lot/a Regale and Mostri Immani,
portraying the struggles of wild animals. Typical
of a certain impending tragedy were the two war
studies of Anselmo Bucci, The Gun and Shrapnel,
etchings which in their bold and simple execu-
tion showed evidence of a study of actuality at
first hand. Gifts of an altogether different kind
were discernible in Giuseppe Graziosi's bold plates
and effective large decorative subjects of monu-
mental fountain figures, which in the manner of
their simple and vigorous execution exhibit the true
etcher's art of red-hot impression before Nature.
Procession of the Relics by Umberto Prencipe
displayed with great power on a plate of rather
large dimensions a subject of an overpowering
architectonic feature rendered as a nocturne.
206
Ubaldo Magavacca had a fine aquatint, The Apse
of the Cathedral of Modena, and Giovanni Greppi
showed a delicate one in // Duotno, Milano, with
its lace-like pinnacles foaming like spray into the
sky. The same structure was the subject of an
excellent etching by Carlo Casanova entitled The
Soul of the Cathedral, an' illustration of which
was given in the June number of The Studio.
Ludovico Cavaleri showed several subjects of
marine and fishing-boat life. Among the more
simple transcripts from Nature were to be found
R. Borsa's Canal Sta. Romana and Carlo Agazzi's
Lombardy Plains. Gubbio, by M. Disertori, is etched
in a bold style with its wide open lines suggestive
of a wood engraving ; and there were five miniature
etchings by Enrico Vegetti, of which Cluny and
St Michele Monza were carried out with a certain
spiritual quality of vision. Carlo Cressini's etching
of a leafless tree against the gathering storm clouds
is very fine in effect. We found in Chiappelli's
Certosa a strong personal view and a restraint in