EXHIBITION OF MODERN ITALIAN ART UNDER THE PATRONAGE OF HIS MAJESTY THE KING OF ITALY ORGANIZED BY THE ITALIAN MINISTRY OF PUBLIC INSTRUCTION INTRODUCTION BY ARDUINO COLASANTI Director General of Fine Arts, Italy FOREWORD BY CHRISTIAN BRINTON AUSPICES OF THE ITALY AMERICA SOCIETY GRAND CENTRAL ART GALLERIES, NEW YORK 1926 PRINTED FOR THE ITALY AMERICA SOCIETY FIRST IMPRESSION, TEN THOUSAND COPIES COPYRIGHT, 1926, BY THE ITALY AMERICA SOCIETY COVER DESIGN REPRODUCED FROM A PHOTOGRAPH OF VICTORY, BY ADOLFO WILDT REDFIELD-KENDRICK-ODELL COMPANY, INC. NEW YORK MEDARDO ROSSO_ Ecce Puer Lent by the Brooklyn Museum GIOVANNI BOLDINI Portrait of Whistler NOTE ON THE EXHIBITION [ 1s with the greatest pleasure that the Italy America Society presents and commends to the American public the first exhibition of Modern Italian Art which the Italian Government has, on our invitation, assembled and sent to this country. In art Italy carries not only the glory but the weight of a past so extraordinary that it is indeed difficult for a contemporary artist coming from Florence, Rome, or Venice to overcome the handicap of the names of his countrymen which echo in schools and museums throughout the world. Italy offers the student of art so great a task, and such an abun- dance of material from the past, that we are easily led to disregard the achievements of the present day. The exhibition organized by the Italian Ministry of Public Instruction, of works chosen under the personal super- vision of one of Europe’s foremost art critics, Arduino Colasanti, Director of the Department of Fine Arts, tells us that united Italy is second to no great nation in number of artists, and in sincerity of artistic expression, the in- fluence of which has been widely felt beyond the narrow borders of the country itself. The Italy America Society is deeply grateful to His Majesty, the King of Italy, who granted the exhibition the honour of his patronage; to His Excellency, the Italian Ambassador, and to His Excellency, Honorable Benito Mussolini, for the generous support of the Government; to the Min- istry of Public Instruction, and particularly to the Department of Fine Arts, which assembled the collection. The work of the Italy America Society in presenting the exhibition in the United States has been made possible through the co-operation of the Grand Central Art Galleries, New York; the Museum of Fine Arts, Boston; the National Gallery of Art, Washington; the Art Institute of Chicago, and the California Palace of the Legion of Honour in San Francisco. To Dr. Christian Brinton the Society expresses sincere thanks for his valued assistance in the preparation of the notable catalogue, and to the Brooklyn Museum for the loan of the portrait of Whistler by Boldini. The officers of the Society are particularly indebted to Dr. Lauro de Bosis and to Mr. Abram Poole who first conceived the idea of organizing the exhibition, which was consummated by the active work of the Committee on Arts and Letters, of which Mr. Otto H. Kahn is Chair- man, and by the united support of the Society. Tuomas W. LAmont, President of the Italy America Society. ANTONIO MANCINI Azaleas FOREWORD By CuristiAN BRINTON INCE aesthetic reciprocity is fast becoming a distinctive feature of inter- national amity, it is with grateful appreciation that we welcome the artistic achievements of our friends from overseas, and from time to time are moved to respond in kind. Post war exhibitions of foreign art in America have thus far included more or less representative displays from England, France, Sweden, Holland, Switzerland, and Russia. Italy, the veritable cradle of modern art, and creator of the modern social order has not, however, appeared officially in our midst since the Panama-Pacific Exposition at San Francisco in 1915. Generally speaking, we do not know what changes have been wrought in the spirit and character of Italian artistic production since the shock and stress of war and the heroic period of recuperation. It thus remains for the present exhibition to reveal Italy of to-day as seen through the eye of the creative artist. The Italy that comes to us flushed with new-found glory is the same Italy over which has for ages brooded the spell of antique beauty. There has simply occurred during these last brief years another Rinascimento, a New Renaissance, which but throws into sharper relief certain fundamentally Italian characteristics. Nurtured upon a pregnant past, and reaching valiantly toward fresh conquests, the rhythm of Italy is more clearly defined than is the evolutionary curve of other countries. The various modern artistic movements from the Divisionism of Segantini and Previati to the Dynamism of the Futurists each possesses a plastic appeal typical of a race noted for vivid expressional eloquence. It is in fact this same faculty for plastic expression that constitutes the keynote of contemporary Italian art. The aim of the present exhibition is to offer a balanced and comprehensive picture of current Italian artistic activity. The picture opens with the work of the great protagonists, Boldini, Mancini, and Medardo Rosso, and closes with a courageous presentation of Futurist painting and decorative art. Every movement of consequence finds place on these walls, with special emphasis upon the work of certain painters and sculptors who have risen to prominence as the result of post war influences. You will hence be able to adjudge the merits of what may be termed the living art of Italy. You will be able to trace in line, colour, and form the artistic physiognomy of a country recently fired to new effort yet ever mindful of its heroic heritage. The first feature that is apt to strike the sympathetic observer upon viewing the collection as an ensemble is its sturdy independence of inspira- tion, its aesthetic autonomy. During periods when most of the world was striving by turns to be Impressionist or post-Impressionist, Cezannist or Cubist, the Italians were working along lines at once individualistic and nationalistic. That species of artistic Francomania which flourished from Stockholm to Barcelona and from Manhattan to Moscow did not take serious root in the soil of Italy. The Divisionist technique which Giovanni Segantini evoked in anguish and exaltation amid the clear heights of the Engadine, instead of destroying, placed vigorous stress upon mass and contour. And similarly the sculptor Medardo Rosso declined to succumb to the spell of Rodin. He actually exerted considerable influence upon the master of Meudon in the matter of leading him from smooth pseudo-classicism toward a freer handling of surface and that subtle interplay of light and shade upon fixed surface which is the very soul of sculpture. The same is true of the Futurists who, led by their intrepid fugelman, Marinetti, turned Cubism, which was static, into something not alone dynamic, but kinetic. In each case these men proved themselves initiators not imitators, and as such added fresh vitality to the larger volume of their country’s artistic aspiration. The most copiously represented of the older group of contributing painters, and the one whose work will probably attract the major measure of attention, is the fertile Mancini, who has been a figure of international importance for some decades. Mancini no longer inhabits his picturesque studio in the Via Margutta, the artists’ quarter of Rome. He has recently moved to more commodious lodgings. It was a pleasure to find that he had prospered, but even more so to realize that, despite his fourscore years and above, he was still painting with his old-time zest and dexterity. It is an art that appeals to eye rather than mind, that belongs to the realm of material objects rather than the questing reaches of the imagination. Yet, what painter has extracted so much joy out of sheer masses of pigment, such sensuous delight from the gleaming surfaces of simple, actual things—a bouquet of flowers, the glint of silk, the glance of an eye, the flash of a fan. A wizard of equal witchery is Boldini, though what Mancini achieves with the free manipulation of mass, Boldini attains through the nervous play of line and movement. Painting with Mancini remains, however, manner. With Boldini it rises to the pitch of genuine style, something akin to the swagger baroque of Bernini. Whatever the distance that divides the two, they stand the undisputed masters of contemporary Italian) portraiture, Mancini with a sprightly charm that recalls Naples, where he studied, Boldini with a cosmopolitanism acquired during fifty years’ residence of Paris. Upon paying appropriate respects to the work of Michetti, Sartorio, and the men of the succeeding period such as the sensitive feminist, Innocenti, one may proceed to a consideration of certain younger talents. Among these may be cited Spadini, Casorati, Oppi, Ferrazzi, De Chirico, Conti, and Donghi. While Spadini’s lustrous colouristic vision was almost exclusively dedicated to scenes from domestic life, the work of his colleagues marks the advent of that New Classicism so popular in present-day Italy. Something of the spirit of bygone Hellas seems to have been wafted across to the land of cypress and sun, for these painters one and all worship purity of form and clarity of contour. Casorati and Oppi are the most convinced and consistent of the group, yet each is in some measure impelled by a well defined impulse to renounce the accidental and superficial, and reflect the reasoned unity of sober colouration and essentially integral volume. It is these artists who have been carrying off most of the honours at the Biennial Exhibitions in Venice and Rome, and whose influence is paramount in the field of pure painting. The reversion to formal tradition, and the appeal of intellect rather than creative instinct which characterizes the attitude of the foregoing men, finds its antithesis in the production of the Futurists, whose work is astir with dynamic impetus. Balla, Depero, Prampolini, and their associates attack virtually every phase of aesthetic endeavour, and to each add their quota of that vital, daring Marinettismo which animates them all. There are those who maintain with touching elation that Cubism is dead, but whether or not this be so the same cannot be charged of Futurism. Possessing an active emotional content, and an unfailing mental flexibility, the Futurists have year after year scored fresh triumphs in various fields. Standing apart from his fellow painters in self-imposed isolation is the figure of Modigliani, who drifted to Paris to win, almost at the same moment, triumph and a tragic end. A modernist in the vein of Derain and Picasso, he nevertheless harks back to his native land, to the remote allure of Tuscan primitive—to a mystic, sensuous appeal without time or date. And just as Modigliani is a unique apparition in the province of painting, so is the Milanese, Adolfo Wildt, a kindred phenomenon in contemporary Italian sculpture. Unequal though it be, the production of Wildt is touched by a psychic evocation, a power of symbolic expressionism, that place him in a category by himself. He seems the one Latin artist who has, so to speak, broken the classic mould—who has felt the breath of Northern mystery. The balance of the sculpture, including the sincere fusion of classic tradi- tion and modern sentiment which typifies the vision of Antonio Maraini, together with the display of black and white and of applied art, complete our brief survey of the exhibition. In all this work you will have discerned a distinct regard for form as such, a marked degree of pure plasticity of inspira- tion. These walls do not glow with the chromatic fantasy to which our Slavic friends have accustomed us for, save the Futurists, the Italians are not vivid, luminous colourists. In compensation, however, this art evinces an assured measure of structural integrity. Strength of design it also possesses, and likewise unity of purpose. It indeed everywhere displays the purposeful unity of an aspiring and homogeneous people. . As the artistic expression of a country whose past is of transcendent glory, the current exhibition would in any event command attention. Yet this is not all, for the soul of Italy has not been strangled, but strengthened for fresh effort by the legacy of formal beauty. That art is playing its appointed part in the present Risorgimento there are numerous indications. Already from the fluted throat of Wildt’s valkyr one seems to hear the clear call to a still higher national destiny. CATALOGUE PAINTING BALLA, Gracomo Born in Turin, 1874. Studied painting alone and won recognition at an early age. He has constantly searched for new technical methods and has worked independently of any school, alike indifferent to criticism or appreciation. He attempts to interpret movement in colour and form. Lives in Rome and is a prominent member of the Futurist group. 1 Forest Motivation 2 Sensation of Spring 3 Idea BOLDINI, Gtovanntr Born in Ferrara, 1854. Studied painting at first under his father, then at the Academy in Florence. He obtained his first professional success in London. In 1872 he went to Paris where he has lived ever since and obtained world renown as a portraitist. His water colours are as much admired as are his works in oil, and besides portraits he has been successful in composition and landscape. Represented in the Gallery of Modern Art in Rome, the Brooklyn Museum, and numerous important public and private collections. 4 Portrait of Whistler Lent by the Brooklyn Museum 5 Portrait of Mrs. Rita de Acosta Lydig Lent by Mrs. Lydig 6 After the Ball CADORIN, Gurpo Born in Venice of a family of artists, he attained recognition at the age of nineteen by his paintings exhibited in the Gallery of Modern Art, Rome. The King of Italy acquired his Cigarette Makers which was exhibited at the Venice Biennial in 1920. He has recently been dedicating himself to applied art, rediscovering a number of ancient technical processes. He has produced metal plates, lacquer furniture, printed silks and canvases. His genius as a decorator has found its most complete expression in the restoration of the Papadopoli Villa near Vittorio Veneto. 7 Model 8 Square in Venice 9 Canal in Venice 10 Fishing with Harpoon 11 Spring on the Lagoon CASORATI, FELICE Born in Novara, 1885. At present lives in Verona. Studied law, music and litera- ture and finally turned to painting under the guidance of Vianelli at Naples. His first paintings were accepted at the Biennial Exhibition at Venice in 1907, the same year in which he obtained his Doctorate in Law at the University of Padua. Casorati deliber- ately omits detail, in attempting an almost abstract search for the essential forms of things. 12 Portrait of Signor Riccardo Gualino 13 Portrait of Signora Riccardo Gualino 14 Portrait of Signor Beria 15 Pasha 16 Midday CONTI, Primo This young Florentine on the occasion of his special exhibition in Rome in connexion with the third Biennial had the good fortune to provoke heated controversy among the critics, some of whom lauded him as a dawning prodigy while others saw in him an imitator of Tito. He is certainly one of the most interesting figures in contemporary Italian art. The free composition of his Rape of the Sabines and his Golgotha are in strong contrast to the sobriety of his Mother in the Red Blouse, and his portraits of Chinese characters. 17 Liung-Yuk Lent by the Gallery of Modern Art, Florence 18 Chinese DE CHIRICO, Gtorcto Born in Greece, 1888, of Italian parents. Has studied and lives in Rome. His original style created great interest in France, Belgium, and Italy where he has par- ticipated in a number of exhibitions. His art has been described as having a meta- physical character. With an original and extremely modern technique he seems to have felt the influence of the Italian masters of the fourteenth century. Among his works are Hector and Andromaca, The Trovatore, The Troublesome Muses. 19 Portrait of the Artist 20 Portrait of the Artist’s Mother DEPERO, Forrunato Born in Rovereto, Venetia. Lives in Rome. Depero is one of the most prominent artists belonging to the Futurist movement. He has been an exhibitor in national as well as international exhibitions and created numerous controversial discussions. Like all Futurists he has been especially successful in decorative and applied art. His clever toys, stage decorations, tapestries,and furniture created a sensation at the Exhibition of Decorative Arts in Paris, 1925. 21 Wild Horses 22 Train at Dawn 23 Woman Embroidering DONGHI, Anronto Born in Rome, 1897, where he pursued his studies at the Institute of Fine Arts. After fighting as a soldier in the World War he devoted himself while at Florence and Venice to a painstaking study of the art of the seventeenth and eighteenth centuries. He won his first notable success at an exhibition held in the Bragaglia Gallery in Rome. Lives and paints in his native city. 24 The Artist 25 Bridge 26 Baroque Church 27 Street 28 The Stairway 29 The Table is Set 30 At the Inn 31 The Fortune Teller 32 Nude 33 Washerwomen FERRAZZI, FEerRruccto Born in Rome, 1891. He copied old masters for a time under the guidance of his father and then studied under Coromaldi and Sartorio at the Institute of Fine Arts in Rome. Devoted at first to Segantini, he then passed a short but interesting interval in 34 39 36 on 38 39 AQ) Al 42 the Impressionist movement from which he reverted to the masters of the fifteenth century. Now at thirty-four he has developed a highly original art not without traces of the varied influences of his early years. In sculpture also he has attained consider- able distinction. The Idol The Storm Valley of Tivoli Aniene River at Tivoli The Tragic Journey Horitia and Child Adolescence (Study) Family of the Artist Study for the Above INNOCENTI, Camitio 43 AA AD Born in Rome, 1871. At first a student of classical literature, he became interested in art after working as a model for Ludovico Seitz. During subsequent travels in Spain he developed a passion for Velazquez, but eventually turned from this master to devote himself to pointillism. After 1911 his work became frankly impressionistic with an insistence upon the picturesque somewhat reminiscent of his early Spanish experience. Andalusian Woman The Black Veil Summer MANCINI, ANTONIO 46 AT AS 49 Born in Albano, near Rome, in 1852. He owes much to Naples where he studied under Domenico Morelli and where he won his first success in 1877 with a canvas entitled Love Thy Neighbour as Thyself. Mancini is a realist but his realism is pervaded by an invincible cheerfulness and good humour. With the years his work acquired a certain complexity of detail which has induced some critics to prefer his earlier productions. Public galleries in Rome, Munich, Amsterdam, Dublin, Florence, Boston, and New York contain masterpieces by this artist. Desires Peasant Girl In the Garden Venetian Woman 30 ol o2 d3 o4 Sys) 56 a7 Azaleas The Scarf Flags Girl with Mandola Landscape Portrait of the Artist Bandit Spring MICHETTI, Francesco Paoto 28 39 60 61 Born in Tocco Casauria, Abbruzzi, in 1851. He studied painting under Morelli in Naples, returning thereafter to the solitude of his native village. At the Neapolitan Exhibition in 1877 his Corpus Domini, depicting a popular religious ceremony of the Abbruzzi, brought him suddenly into fame. He is commonly regarded as a counterpart in painting of his great friend d’Annunzio for whose tragedy entitled The Daughter of Jorio, he made a painting of the same name, acquired by the German Kaiser, which is considered his masterpiece. He is now a senator and lives in an old convent at Franca- villa al Mare, in the Abbruzzi. Golden Clouds Head of Peasant Landscape Sheep and Goats 62 In the Grass 63 On the Beach 64 Abbruzzi Landscape 65 Peasant Woman MODIGLIANI, AmEpDEO 66 Born in Livorno in 1884. After graduation from a classical high school he applied him- self entirely to painting, first at Livorno under Micheli, then at the Florence Academy of Fine Arts. He made brief sojourns in Rome and Venice and thence went to Paris where he lived the rest of his brief life as a member of the group called La Jeune France. For a time he followed the French Cubists but soon evolved a manner quite his own which has something of the feeling of the Italian Primitives. He died in Paris in 1920. Portrait of M. Baranowski Lent by H. Bing § Cie 67 Madame Modigliani Lent by H. Bing g Cie 68 Blonde Lent by H. Bing § Cie 69 Nude Lent by H. Bing § Cie 70 Young Woman Lent by Mr. Paul Reinhardt 71 Portrait Lent by the New Gallery NOCI, Arturo Born in Rome where he studied painting at the Royal Institute of Fine Arts. He followed for a while the Divisionist movement and developed an independent technique, devoting himself both to landscape and portraiture. He is the winner of several com- petitions and has partaken in numerous national as well as international exhibitions. Two of his paintings have been bought by the National Gallery of Modern Art in Rome. Noci is at present a resident of New York where he is chiefly known as a portrait painter. 72 Venetian Fisherman 73 Portrait OPPI, Usa.po He was born in Bologna where he at present lives. Considered as one of the most promising among the younger artists, he awakened great interest at the latest Biennial Exhibitions both in Venice and in Rome. One of his pictures was awarded the Gold Medal at the last Carnegie Institute Exhibition in Pittsburgh. He is a realist, but his realism is distinguished by classic severity and accuracy of detail. 74 Fishermen at Santo Spirito 75 Breton Girl PRAMPOLINI, Enrico With Balla and Depero, he completes the Futurist triumvirate. While he was born in Milan he is a resident of Rome, and was one of the first to follow the movement headed by Marinetti and Boccioni. He has been particularly successful in the decorative arts, having been awarded the Grand Prix and three Silver Medals at the Exposition of Decorative Arts in Paris, 1925. Editor of the Futurist Review. 76 Jazz Band TE ouvetities Architecture 78 Portrait of the Artist 79 Capri ROMAGNOLI, Gtovanni Born in Faenza, 1893. Studied fine arts at the Institute of Bologna under Domenico Ferri and Augusto Majani. He made his debut at the Promotrice of Bologna and the Secession of Rome. Since then he has regularly taken part in all the Italian exhibitions of national importance. His latest work reveals considerable advance both in emo- tional content and in technique. His Ballerina is on permanent view at the Gallery of Modern Art in Rome. 80 Cherries 81 Nude 82 Pomegranates 83. Diana SARTORIO, Grutto ARISTIDE Born in Rome, February 11, 1860, he came from a family of poor artists and received his first instruction from his father who was a sculptor. At the age of seventeen he was making his living as a designer. He had the good fortune to enlist the interest of Nino Costa, Giuseppe Raggio, and Michetti, who saw in him the promise of a great artist. He spent two years in England and finally settled in Rome where he has attained great fame in landscape, composition, and decorative painting. A master of pastel, the Roman Campagna found in him an illustrator of classic accuracy. He is the author of the monumental frieze in the Italian House of Parliament. 84 Portrait of a Girl in the Open 85 Malaria 86 Ponte Milvio 87 Alpine Posto 88 Windmill at Terracina 89 The Pines at Fregene 90 Along the Shore 91 Pine Trees 92 Funeral on the Adamello SIRONI, Marto 93 Born in Sassari, Sardinia, 1885, Sironi is a Roman by training and experience, and of late a resident of Milan. Belongs to the Twentieth Century Group which commanded considerable attention at the recent exhibition in Venice. He is a synthetic artist, but an Italian synthetist, enamoured of the seventeenth century. Well known also as a caricaturist, he regularly draws for Mussolini’s paper, Il Popolo d’Italia. The Architect SPADINI, ArnmMAnpbo 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 Born in Florence, 1883. A self-made artist he began with the decoration of pottery, an activity to which critics have attributed the luminosity and lustrous glazes which characterize many of his canvases. He won a most spectacular and sensational success at the Venice Biennial in 1924 which brought him to the forefront among contemporary Italian artists. He died in Rome, 1925, in the full flower of his art. The Kiss The Visitation The Toilette of Venus Asleep Wife of the Artist Anna in White Study Hour The Marriage of St. Catherine Mother and Child Cat and Kittens Boy with Lobster Children with Fruit Landscape Park Villa Borghese SCULPTURE ANDREOTTI, Lisero Born in Pescia, Abbruzzi, Andreotti was successively blacksmith, bookstore clerk, and caricaturist before turning to sculpture where he has won renown. He studied modelling first in Florence, then in Paris, where he remained until 1914. For a time under the influence of Bourdelle, he now finds his principal inspiration in the Tuscan art of the Renaissance, especially in Jacopo della Quercia. His Italian Mother will soon be un- veiled in the Santa Croce in Florence, where he occupies the chair of sculpture at the Institute of Decorative Art. 109 Girl with Cherries 110 Bather DAZZI, Arturo Born in Carrara, January 13, 1881. Dazzi’s work reflects the spirit of his marble-ribbed Alps. He has given Italy two famous war monuments, one to the hero Enrico Toti, and one to the railwaymen who died at the front. One of his statues has found its way across the Atlantic to Lima, Peru. He contributed the reliefs to the Banca d’Italia building in Rome, and to the Triumphal Arch in Genoa. 111 Antonella ies Calt 113 Nymph 114 American Girl 115 Spring GEMITO, Vincenzo Born in Naples, May 11, 1852. He studied under Lista and Caggiano, and in 1867 obtained a sensational success with his Fisher Boy which was acquired by Meissonier and has now found a permanent home at the Bargello in Florence. Moving to Paris he became one of the most popular artists of the French capital and filled many orders for busts, portraits, and statuettes. Famous are his Water Boy, The Spring, and Neptune. He had a strong sense of the lure of the sea which he preferred to envisage under reconstructions of a mythical seafaring universe. His energetic career was hampered by an attack of insanity which, though subsequently cured, left him without the original fullness of his powers. 116 The Philosopher 117 Child GERARDI, ALBERTO A Roman by birth. For a long time principal of the Artigianelli Institute on the Aventine. He is now a teacher in the School of Applied Arts in the Viale Manzoni in Rome. Gerardi is a sculptor of distinction but he owes his fame to his work in iron which was first exhibited in the Biennial in Rome and later at the Pesaro Gallery in Milan. Some of his chalices and pieces of Franciscan inspiration may be seen at the Permanent Exhibition of Christian Art in Venice. Certain of his best things were ex- ecuted at the request of d’Annunzio. Of late he has turned to portraiture in iron and bronze. 118 Portrait of a Man 119 The Artist’s Daughter MARAINI, ANnrTonto Born in Rome, 1881. He has enjoyed a classical training and taken his degree in law. Has written extensively as a critic. He executed his first works under the encourage- ment of the painter Bargellini in whose studio he modelled a statuette called Perseus which was awarded a silver medal at Brussels. His most famous work is the Via Crucis erected in a church on the Island of Rhodes. His bas reliefs exhibited at the recent Biennial in Venice attracted wide and favourable attention. The Kiss Visitors Bathing Eve PRINI, Giovanni Born in 1877 at Genoa, where he studied sculpture at the Ligurian Academy of Fine Arts. Made his debut with his Brides of Liguria at an exhibition in Turin in 1890. For many years he has lived in Rome. His Portrait of a Woman has been acquired by the Gallery of Modern Art in Rome. His many statues, mortuary monuments and votive chapels reveal broad human sympathies and express a mood of melancholy resignation. Displays great talent in his combination of sculpture with architectural motives. 124 The Family Idol ROSSO, Meparpo 125 126 127 128 Born in Turin, June 20, 1858. Was at first interested in painting which he studied without a teacher. To this early experience are attributed certain characteristics of his later masterpieces. Until the time of the post-Impressionistic and synthetic reaction Rosso exerted a great influence in Europe. French critics credit him with having weaned Rodin away from Renaissance smoothness as well as from excessive fondness for displaying physical strenuousness. Child Ecce Puer Reading The Servant SELVA, ATrTritio 129 130 131 132 Born in Trieste, 1883, where he studied at the Industrial School. In 1907 he won the Roman Fine Arts Prize and has since been living in the capital with his family. His wife has been his favourite model. He leapt into-prominence first at the Secession and later through a private exhibition held in Rome. Three of his works: The Sabine Girl, The Riddle, and The Idol, have been acquired by the Gallery of Modern Art in Rome. He is also distinguished in portraiture. Primrose Sergio Mariella Child WILDT, Abotro Born in Milan in 1868. Wildt’s work has provoked vivacious and contradictory dis- cussions. A sculptor of vast experience, he has developed extraordinary fluency as a stylist and a virtuoso not without great variety of mood. Perhaps the perplexity 133 134 135 136 137 138 139 140 which his art arouses is due to the fact that he is thought of not as a primitive but rather as baroque. His predilection for deep incisions and low reliefs, his expressionism, in short, tends to support these conclusions. At first regarded as a realist he is now classed among the symbolists. Among his outstanding works are his Trilogy, The Funeral Monument of the Boschi Family, his Mask of Grief, and his Conception. Portrait of the Artist His Excellency Benito Mussolini Maria The Idiot The Virgin Child Victory Prisoner GRAPHIC ART CARBONATI, Antonio Born in Mantua, June 3, 1893, now a resident of Rome. Studied engraving in Venice under Ettore Tito and subsequently in Rome under Aristide Sartorio. Noted espe- cially for engravings, often with a humorous touch illustrating modern life in Rome— Campo de’Fiori, Island of San’ Bartolomeo, etc. More recently he has shown the influence of Paris, particularly of Meryon, in his prints. Two albums of his lithographs have been issued by Alinari. 141-168 Etchings DAZZI, Romano 1695 Born in Rome, 1906, son of the sculptor Arturo Dazzi. Astonished his parents at the age of four by his imaginative drawings of figures in motion. He continued to draw without models, particularly reproducing images seen on the moving picture screen. Became famous during the war for remarkable military scenes drawn in the same man- ner. He participates in all national Italian exhibitions and is recognized as a young artist of unusual merit. 183 Drawings DE CAROLIS, Apotro Born in Montefiore, Marche, 1874. Studied in Bologna and Rome. In decora- tive art a pupil of Alessandro Morani, in landscape painting, of Nino Costa. He now lives in Rome. De Carolis belonged to the d’Annunzio group together with Adolfo de Bosis, Scarfoglio, Michetti, and Sartorio. He owes his fame to his illus- trations in black and white for the works of d’Annunzio and Pascoli, and for many of the Greek classics, and is credited with the revival of modern Italian book illustration. He has achieved renown also through his frescoes in public buildings at Pisa, Ascoli, Bologna, and Arezzo. 184-209 Woodcuts DISERTORI, BENvENUTO Born in Trent, 1887. For most of his life a resident of Florence. Known in Italy as one of the most distinguished Italian engravers. He is devoted to the past which he sees emerging from the ravages of time, and the ancient towns and villages of Umbria and Tuscany find in him a faithful illustrator. Disertori is remarkable for his ascetic moods which are partly disguised under his rigid classicism and accuracy of detail. 210-214 Etchings DECORATIVE ART BALLA, G1acomo 215-216 Painted Tapestries BALSAMO STELLA, Gurpo Born in Turin, 1887. Studied at Venice and in Munich, where he was awarded a gold medal. Took prominent part in the first exhibition of Italian decorative art at Stock- holm. At present a professor in the Royal School of Decorative Art, Florence. He has done much to reawaken public interest in decorative art. Besides his artistic furniture he is especially famous for his engraved glassware in which he has adapted old Italian styles to modern technical processes. 217-221 Glassware BROZZI, RENatTo Born in 1887. He first acquired fame as a painter of animals which represent for him the study of a lifetime. He is particularly noted for his work in metal repoussé, silver plate, and medallions. In this field he has attained an unparalleled perfection of technique, particularly in his animal studies. He has the habit of making hundreds of sketches before attempting the relief which has all the accurate delicacy of Japanese painting. 222 Silver Plate 223-228 Medallions DEPERO, Fortunato 229-245 ‘Tapestries GALLENGA, Marta Monact This youthful Roman artist has specialized in the decoration of cloths from which she designs frocks and cloaks usually of classical themes adapted to modern ideas of costume. She has exhibited her work in Rome, Holland, Belgium, Spain, and England. Was recently awarded the Grand Prix at the Exhibition of Decorative Arts in Paris. 246-257 Fabrics PRAMPOLINI, Enrico 258-265 ‘Tapestries VENINI, Paoto Originally from Milan where he was graduated as an engineer. Lives in Venice where he has established the glass factory which bears his name. It is his ambition to have Venetian glass return to the classic purity of form which was its original charm. The designs of many of the models here exhibited were taken from the paintings of Veronese, Titian, and Holbein. 266-290 Murano Glassware ILLUSTRATIONS ADOLFO WILDT The Virgin she fp . of) me o4 A GIOVANNI BOLDINI Portrait of Mrs. Rita de Acosta Lydig ANTONIO MANCINI The Scarf RTORIO Along the Shore SA = 4 ARISTIDE Fisherman ARTURO NOCI Venetian ARMANDO SPADINI The Marriage of St. Catherine 1SS ARMANDO SPADINI The K Journey FERRUCCIO FERRAZZI_ The Tragic UBALDO OPPI Breton Girl FERRUCCIO FERRAZZI The Idol Lent by the Gallery of Modern Art, Florence PRIMO CONTI Liung-Yuk GUIDO CADORIN Square in Venice neonate a MARIANO SIRONI_ The Architect herwomen © T / W ANTONIO DONGHI =~ o — = B o =| | =) ~ he ° = Ly The HI ] x C DON ANTONIO Lent by H. Bing & Cie, Paris AMEDEO MODIGLIANI Madame Modigliani Lent by Mr. Paul Reinhardt AMEDEO MODIGLIANI Portrait FORTUNATO DEPERO Train at Dawn ENRICO PRAMPOLINI Portrait of the Artist HOD casei . ing GIACOMO BALLA Sensation of Spr SCULPTURE 4 VINCENZO GEMITO The Philosopher MEDARDO ROSSO_ The Servant ARTURO DAZZI Nymph LIBERO ANDREOTTI Bather )VANNI PRINI_ The Idol of the Family C GI ATTILIO SELVA Primrose ADOLFO WILDT Maria ANTONIO MARAINI The Kiss ALBERTO GERARDI Daughter of the Artist ANTONIO MARAINI Eve COMPLIMENTS OF BANCA COMMERCIALE ITALIANA TRUST COMPANY 62 WILLIAM STREET NEW YORK Kipper, Peapopy & Co. (ESTABLISHED 1865) NEW YORK BOSTON PROVIDENCE KY For a number of years our uptown office at 45 EAST 42nn STREET has provided investment and banking facilities to meet the constantly increas- ing demands of this section of the city. BONDS AND STOCKS FOR INVESTMENT COMMISSION ORDERS EXECUTED FOREIGN EXCHANGE LETTERS OF CREDIT @ Members of the NEW YORK STOCK EXCHANGE Correspondents of BARING BROTHERS & CO., Lrp. LONDON To ITALY BY THE NEW 5.5. “CONTE BIANCAMANO” (White Count) 24,000 Tons Register 22 Knots Per Hour The Speedboat of the Mediterranean And by the famous sisterships “CONTE ROSSO” (Red Count) 18.500 Tons REGISTER 20 Knots PER Hour and “CONTE VERDE” (Green Count) 18,500 Tons ReEcIsTER 20 Knots per Hour The three “Counts” are the last word in safety, comfort os : : rr ae 5 rg eareae peg RS, and Italian decorative art ANCAMANO ~~. “WHITE COUNT” ~ & ee ene 7” ram spe ~——____ - -, ~s NIE &l -— — Regular sailings to Naples and Genoa. Special winter voyages stopping also at Madeira, Gibraltar and Algiers LLOYD SABAUDO LINE 3 STATE STREET, NEW YORK FOU R—Special Winter Voyages to the MEDITERRANEAN By the Luxurious Steamer “DUILIO” LARGEST AND FASTEST OIL BURNER IN THE MEDITERRANEAN SERVICE February 2 and March I] NEW YORK MADEIRA GIBRALTAR ALGIERS NAPLES GENOA Minimum Rate to all Ports, $275. The Unexcelled Accommodations, Service and Cuisine onthe “Duilio” account for the exceptional demand for passage on all sailings of this steamer TITUS ARCH—ROME AND BY THE POPULAR OIL BURNER “COLOMBO” LARGEST CABIN SHIP TO THE MEDITERRANEAN January 15 and February 23 NEW YORK, CASABLANCA, GIBRALTAR, PALERMO, NAPLES, GENOA Minimum Rate to all Ports, $170. COMFORT AND QUALITY SERVICE AT REASONABLE RATES OPTIONAL SHORE EXCURSIONS ON ALL SPECIAL WINTER VOYAGES Other sailings to the Mediterranean APRIL 10, APRIL 24, MAY 19, MAY 29, JUNE 26, JULY 3 For Rates and further $ Line or Local Steamship Information apply to Agents NAVIGAZIONE GENERALE ITALIANA ITALIA-AMERICA SHIPPING CORP., General Agents, 1 STATE STREET, NEW YORK VENETIAN GLASS The only shop in America devoted exclusively to Venetian Glass for decorative and useful purposes TUMBLERS PLATES VASES CHANDELIERS COMPOTES WALL BRACKETS GLASS TABLEWARE CANDLESTICKS Splendid assortment of old and new designs for gifts— wedding and anniversary remembrances . Those wonderful flowers that never fade . . .” GABRIELE D’ANNUNZIO BENELLO BROTHERS, Inc. 584 MADISON AVENUE, NEW YORK Paris London Venice COMPS 1 TUDO BANCO DI NAPOLI (FONDATO NEL 1539) Capitale e riserva Lit. 166,000,000 Riserva metallica a garenzia della circolazione dei bighetti L. 285,000,000 DIREZIONE GENERALE IN NAPOLI 75 Filiali in Italia Succursale a Tripoli d’Africa Succursale a Zara (Dalmazia) AGENZIE NEGLI STATI UNITI New York Agenzia N. 1—Broadway, Spring and Crosby Sts. New York Agenzia N. 2—353 East 149th Street Chicago. . . . . —So. Halsted and Forquer Sts. Rimesse su Italia a mezzo di speciali vaglia garentiti Rimesse ordinarie e telegrafiche Acquisto e vendita di chéques a vista su Italia e su l’Estero Incasso effetti semplici e documentati Servizi bancari diversi per conto dei propri stabilimenti, di suoi corrispondenti e di terzi Rappresentante ed incaricato del R. Governo Italiano per il pagamento delle rendite e delle cedole su titoli del Debito Pubblico Cosuticu Line or Trieste De Luxe Passenger Service PTALY Spring Cruise Voyage to ATLANTIC ISLES THE SCENIC MEDITERRANEAN AND ADRIATIC BY THE Palatial Cruising Steamer STELLA pd’ITALIA FROM NEW YORK April Twenty-fourth, 1926 Calling at Bermuda, Azores, Gibraltar, Algiers, Monte Carlo, Naples, Palermo, Ragusa, Venice and Trieste. Moderate Rates. OTHER CONVENIENT DEPARTURES From New York and Boston By Express Oil Burners ‘*PRESIDENTE WILSON” AND ‘‘MARTHA WASHINGTON’”’ World’s Famous Cuisine PHELPS BROTHER & CO., General Agents 17 BATTERY PLACE, NEW YORK Se U“appetito manca bevete FERNET-BRANCA It gives you an immediate desire for food if taken before meals and makes your food easy to digest, if taken after meals. A Suggestion Try Fernet-Branca in your black coffee at breakfast and see how different it makes you feel through the day—or after an abundant dinner, take a few drops in your demi-tasse. L. GANDOLFI & CO. 120 WEST 42ND STREET NEW YORK CITY Distributors for North America, Cuba, and Central America Convenience in Banking ANY thousands of men and women make this office their banking connection because it makes all the services of a complete bank so conveniently accessible at the center of City transit facilities. Our depositors find it of distinct advantage to have available under one roof, in a central location, facilities for meeting their every banking, trust, investment, foreign exchange and safe deposit need. Fifth Avenue Office Guaranty Trust Company of New York Fifth Avenue & 44th Street BLAIR & Co. INCORPORATED 24: BROAD STREET NEW YORK INVESTMENT SECURITIES LIONELLO PERERA & CO. SUCCESSORS TO CANTONI & CO. BANKERS Established 1865 63 and 65 WALL STREET «“MILLINERS”’ DEGAS DUDENSING GALLERIES 45 WEST 44TH STREET NEW YORK CITY NEW YORK MODERN PAINTINGS AMERICAN & FOREIGN J. ALGER C. PISSARRO C. BISCHOFF O. REDON M. BERESFORD M. ROGERS J. CHARRETON A. SISLEY E. DEGAS J. SMITH H. MATISSE J: STELLA H. MATSON W. WHEELOCK CATALOG ON REQUEST sca VLAMINCK PAINTINGS By OLD AND MODERN MASTERS REINHARDT GALLERIES 730 FIFTH AVENUE, NEW YORK Through years of existence organizations, like works of Art, take on added virtues nce NE — N 1870 the House of Devoe brought 116 years of paint experience to the manufacture of artists’ colors—experience that covered every phase of mechanical excellence in the manufacture of mixed paint—an organization capable of assembling from world-wide sources the pigments and oils best suited to artists’ uses. What then, are the added virtues of years. Just these—a sincere recognition of the prob- lems that confront every artist, and an acknowledged responsibility to provide him with those materials only that will most satisfactorily fill his own rigid requirements. Send for the Devoe book “Pigments Used for Artists Oil Colors.” It is an unprejudiced report of the chemical action and reaction of pigments, their permanence or futility, their worth or worthlessness to the artist. The book is free in order that it may be in eyery artist’s library. DEVOE & RAYNOLDS €0 ie NEW YORK - =~ 2 2 2) Giger BANCO DI SICILIA TRUST COMPANY Incorporated under the laws of the State of New York 487 BROADWAY, NEW YORK CITY Phone: Canal 2083, 2084, 2085 FOREIGN EXCHANGE COMMERCIAL CREDITS - TRAVELERS’ CREDITS Fiscal agents for the Royal Italian Treasury The Banco di Sicilia Trust Company is affiliated with the Banco di Sicilia, one of the oldest institutions in Europe, as well as one of the three banks of issue in Italy. FABRE LINE The Popular Route to the Mediterranean Regular Passenger Service between New York and Boston and Palermo, Naples and Marseilles, by the large and fast Mail steamers Providence, Patria and Canada. Interesting Winter Cruises covering all ports of interest in the Mediterranean. Attractive Passage Rates Also regular sailings from New York and Providence, R.I., to the Azores, Portugal, North Africa, Greece, Black Sea ports, Syria, Palestine and Egypt. The Fabre Line is renowned for its careful attention to passengers and exquisite cuisine. Details may be secured from any Steamship or Tourist Agency, or from JAS. W. ELWELL & CO. Inc. GENERAL AGENTS 17 STATE STREET, NEW YORK, N. Y. REDFIELD-KENDRICK-ODELL Co. nN RO ART CATALOGS DIRECT BY MAIL CAMPAIGNS MAP MAKING TENTH AVENUE AT THIRTY-SIXTH STREET New York TELEPHONE CHICKERING 6345 HARLEM BANK OF COMMERCE F. M. FERRARI, President DEPOSITORY OF THE STATE OF NEW YORK OFFFICERS F. M. Ferrari, President H. H. Lazarus, Vice-President F. X. Mancuso, Chairman of the Board H. W. Hubbard, Vice-President Fred. 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