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#0229
Italian Graphic Art
handling the effected contrast of the intensest light
to deep shadow. A single figure of a man,
Giomino by Giovanni Costetti, showed the maxi-
mum of effect obtained by the minimum of means,
and the same may be said of his illustrations to
Gabriele d'Annunzio's poem " La fosfa Juia" (in
" La Nave "), in which he has given expression to
the tragic horror of the subject. The drypoint
portraits by Federico Gariboldi, Nina Ferrari's
La Sora Gonda, and The Light of the Moon by
G. Guerrini, with its Botticelli-like subject, must
be mentioned as examples of refinement. Flam-
boyant in the best sense, Cesaro Fratino's Design
for a Drop Curtain, composed on the lines of
Tiepolo's work, was effective in its massing of
architectural columns, figures, and two elephants.
Hung in the place of honour, its carrying power
would have been greater for a little more simplicity
in, its handling and more definiteness of accentua-
tion in its effects. A sense of depression was con-
veyed in the coloured etching Reims Cathedral by
Domingo Motta, whose rendering of the famous
Gothic masterpiece suggested the devastation
wrought by a ruthless enemy. Vico Vigano,
the President of the Associazione, held our atten-
tion in his Diploma for the Italian Aviation Society,
designed in honour of the first crossing of the
Alps by aeroplane. He was also represented by
The Smoker, a delicate dry-point, and The Passing
Train, a motive encountered again in Iron and
Stone, a medley of the turmoil of modern work by
Cesaro Fratino. Anselmo Bucci's dry-point of
Montmartre shows the old Moulin Rouge and
neighbouring places of amusement in ante-war
Paris. Seen in the daylight, it gives the light-
hearted gaiety that was the more superficial aspect
of old Bohemian Paris. Some power was evinced
by Luigi Conconi in his The Third Rome, in which
King Victor Emanuel II. is seen passing under
the Arch of Titus. In Don Quichote and Artistic
Jury, the latter a skit of monkeys surveying a
Cubist painting, G. B. Galizzi showed trenchant
humour. Ernesto Bazzaro the sculptor's etchings
of heads were very effective, and the lithographs
by Vincenzo Stanga and A. Brunozzi also deserve
mention. Henry F. W. Ganz.
" MONTMARTRE "
ETCHING BY ANSELMO BUCCI
209
handling the effected contrast of the intensest light
to deep shadow. A single figure of a man,
Giomino by Giovanni Costetti, showed the maxi-
mum of effect obtained by the minimum of means,
and the same may be said of his illustrations to
Gabriele d'Annunzio's poem " La fosfa Juia" (in
" La Nave "), in which he has given expression to
the tragic horror of the subject. The drypoint
portraits by Federico Gariboldi, Nina Ferrari's
La Sora Gonda, and The Light of the Moon by
G. Guerrini, with its Botticelli-like subject, must
be mentioned as examples of refinement. Flam-
boyant in the best sense, Cesaro Fratino's Design
for a Drop Curtain, composed on the lines of
Tiepolo's work, was effective in its massing of
architectural columns, figures, and two elephants.
Hung in the place of honour, its carrying power
would have been greater for a little more simplicity
in, its handling and more definiteness of accentua-
tion in its effects. A sense of depression was con-
veyed in the coloured etching Reims Cathedral by
Domingo Motta, whose rendering of the famous
Gothic masterpiece suggested the devastation
wrought by a ruthless enemy. Vico Vigano,
the President of the Associazione, held our atten-
tion in his Diploma for the Italian Aviation Society,
designed in honour of the first crossing of the
Alps by aeroplane. He was also represented by
The Smoker, a delicate dry-point, and The Passing
Train, a motive encountered again in Iron and
Stone, a medley of the turmoil of modern work by
Cesaro Fratino. Anselmo Bucci's dry-point of
Montmartre shows the old Moulin Rouge and
neighbouring places of amusement in ante-war
Paris. Seen in the daylight, it gives the light-
hearted gaiety that was the more superficial aspect
of old Bohemian Paris. Some power was evinced
by Luigi Conconi in his The Third Rome, in which
King Victor Emanuel II. is seen passing under
the Arch of Titus. In Don Quichote and Artistic
Jury, the latter a skit of monkeys surveying a
Cubist painting, G. B. Galizzi showed trenchant
humour. Ernesto Bazzaro the sculptor's etchings
of heads were very effective, and the lithographs
by Vincenzo Stanga and A. Brunozzi also deserve
mention. Henry F. W. Ganz.
" MONTMARTRE "
ETCHING BY ANSELMO BUCCI
209