DOI issue:
No. 329 (August 1920)
DOI article:Brinton, Selwyn John Curwen: The recent work of Ettore Tito
DOI Page / Citation link:https://doi.org/10.11588/diglit.21401#0024
THE RECENT WORK OF ETTORE TITO
almost regretted the change—that I had
preferred in the International of 1912
the Colline Friulane or Giorno di Festa
to the bewildering scramble of Rinas-
cita. But we can realize now that there
has been no break, no change of purpose
or interest; only a nobler widening of
vision, 0 0 0 0 0 0
It was significant that when, in 1909,
that great creative master, Anders Zorn,
came to Venice and gave his wonderful ex-
hibition, the two artists at once appreciated
each others high merit, and exchanged
paintings as a mark of that appreciation,
I well remember at that time seeing one
evening in Professor Tito's Venetian home
the finely-modelled female figure called
in the exhibition A Fountain, which he had
that day acquired from the Swedish
Master, who, in his turn, had from him the
painting exhibited that year under the
title of L'Alga (Seaweed). It has been
finely suggested that behind Tito's paint-
ings there is almost always to be felt the
presence of the sea—that even in his street
scenes of Rocca di Papa, in his tranquil
studious figure of Dr. Corrado Ricci (see
p. 3), the wide expanse of the Roman
Campagna with its luminous infinity sug-
gests the sea. 00000
Throughout his" art he has kept his in-
dividual charm, his sense of distinction,
of refinement of type. In the technical
side of his art it is interesting to remember
a conversation which we had, in his studio
in the spring of that fateful year of 1914,
on the merits of oil and tempera ; and how
he illustrated his argument by sitting down
then and there, and putting in a brilliant
little study which combined both. 0 0
In his decorative panel, exhibited at
Venice in 1912, showing Italy as inheritor
and guardian of the maritime treasures of
Venice, he claimed for his country seven
years ago what she now claims for her-
self as the just reward of her sacrifices and
victories. And now his creation of La
Vittoria is the appropriate sequel to the
earlier claim; while in those glad scenes
of the Roman Villa, the Games, the, Fruits
of the Earth, we recognize, in this modern
Venetian, the audacity and sureness of
hand, the breadth of composition and swing
of movement which once, in Madrid or the
Palaces of Venice and the Veneto, were the
hall-mark of Giovanni Battista Tiepolo. 0
almost regretted the change—that I had
preferred in the International of 1912
the Colline Friulane or Giorno di Festa
to the bewildering scramble of Rinas-
cita. But we can realize now that there
has been no break, no change of purpose
or interest; only a nobler widening of
vision, 0 0 0 0 0 0
It was significant that when, in 1909,
that great creative master, Anders Zorn,
came to Venice and gave his wonderful ex-
hibition, the two artists at once appreciated
each others high merit, and exchanged
paintings as a mark of that appreciation,
I well remember at that time seeing one
evening in Professor Tito's Venetian home
the finely-modelled female figure called
in the exhibition A Fountain, which he had
that day acquired from the Swedish
Master, who, in his turn, had from him the
painting exhibited that year under the
title of L'Alga (Seaweed). It has been
finely suggested that behind Tito's paint-
ings there is almost always to be felt the
presence of the sea—that even in his street
scenes of Rocca di Papa, in his tranquil
studious figure of Dr. Corrado Ricci (see
p. 3), the wide expanse of the Roman
Campagna with its luminous infinity sug-
gests the sea. 00000
Throughout his" art he has kept his in-
dividual charm, his sense of distinction,
of refinement of type. In the technical
side of his art it is interesting to remember
a conversation which we had, in his studio
in the spring of that fateful year of 1914,
on the merits of oil and tempera ; and how
he illustrated his argument by sitting down
then and there, and putting in a brilliant
little study which combined both. 0 0
In his decorative panel, exhibited at
Venice in 1912, showing Italy as inheritor
and guardian of the maritime treasures of
Venice, he claimed for his country seven
years ago what she now claims for her-
self as the just reward of her sacrifices and
victories. And now his creation of La
Vittoria is the appropriate sequel to the
earlier claim; while in those glad scenes
of the Roman Villa, the Games, the, Fruits
of the Earth, we recognize, in this modern
Venetian, the audacity and sureness of
hand, the breadth of composition and swing
of movement which once, in Madrid or the
Palaces of Venice and the Veneto, were the
hall-mark of Giovanni Battista Tiepolo. 0