DOI Heft:
No. 371 (February 1924)
DOI Artikel:[Notes: two hundred and twenty-one illustrations]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21399#0124
MILAN
as student in the Brera Academy, he failed
in a “ concorso ” to which he had sent a
Cleopatra, and was so discouraged that for
five years he went back to his country
home. When he returned to Milan and art,
driven no doubt by an irrepressible im-
pulse, he found friends who appreciated
his talent—among them that fine Milanese
painter Emilio Gola—and success ; and he
had merited this by an immense advance
in his methods and technique. “ His
painting,” says Vincenzo Bucci of this
period, “ formerly opaque and black, had
of a sudden become clear, and, as it were,
luminous, acquiring transparencies and
vibrations : in the way his colours were
laid on, in the quality of his brushwork,
the feeling which he now put into his
tonality and colouring, he was another
man.” 000000
Above all, Amisani now came forward
as a painter of woman—more than this, I
might say, of the modern Italian woman—
in her charm, at once intelligent and
voluptuous, southern and refined. His
great wish was then to paint the brilliant
actress Lyda Borelli : he gave great atten-
tion and study to this, catching her ex-
pression and movement by memorising
studies when she was on the stage, and the
portrait was a success. Shown at the Brera,
it won the “ Premio Fumagalli,” and the
fortunate artist found, from 1912 onwards,
many commissions for portraits, even in
America, where he had successful exhibi-
tions. Settled now again in Italy, he has
developed his style and enriched his
palette. He keeps that clear tonality of his,
but “ with certain new and precious notes.
Certain silvery greys, certain flesh tones of
iridescent mother-of-pearl, certain strong
notes of stuffs introduced almost violently
into the diffused clearness of his painting
were never obtained as cunningly as now
by this refined colourist.” An example of
these observations may be found in II
Bagno, of this very exhibition ; the nude
here, exquisitely drawn, moves in clear
luminous space, but with just these con-
trasts. 000000
106
"LA FEMME.” BY
GIUSEPPE AMISANI
as student in the Brera Academy, he failed
in a “ concorso ” to which he had sent a
Cleopatra, and was so discouraged that for
five years he went back to his country
home. When he returned to Milan and art,
driven no doubt by an irrepressible im-
pulse, he found friends who appreciated
his talent—among them that fine Milanese
painter Emilio Gola—and success ; and he
had merited this by an immense advance
in his methods and technique. “ His
painting,” says Vincenzo Bucci of this
period, “ formerly opaque and black, had
of a sudden become clear, and, as it were,
luminous, acquiring transparencies and
vibrations : in the way his colours were
laid on, in the quality of his brushwork,
the feeling which he now put into his
tonality and colouring, he was another
man.” 000000
Above all, Amisani now came forward
as a painter of woman—more than this, I
might say, of the modern Italian woman—
in her charm, at once intelligent and
voluptuous, southern and refined. His
great wish was then to paint the brilliant
actress Lyda Borelli : he gave great atten-
tion and study to this, catching her ex-
pression and movement by memorising
studies when she was on the stage, and the
portrait was a success. Shown at the Brera,
it won the “ Premio Fumagalli,” and the
fortunate artist found, from 1912 onwards,
many commissions for portraits, even in
America, where he had successful exhibi-
tions. Settled now again in Italy, he has
developed his style and enriched his
palette. He keeps that clear tonality of his,
but “ with certain new and precious notes.
Certain silvery greys, certain flesh tones of
iridescent mother-of-pearl, certain strong
notes of stuffs introduced almost violently
into the diffused clearness of his painting
were never obtained as cunningly as now
by this refined colourist.” An example of
these observations may be found in II
Bagno, of this very exhibition ; the nude
here, exquisitely drawn, moves in clear
luminous space, but with just these con-
trasts. 000000
106
"LA FEMME.” BY
GIUSEPPE AMISANI