Spotlight on venetian art from 1910 to 1940: that silent revolution

December 2, 2020
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Great Arturo Martini with L’inglesina (1929-30)

Whether it was the evocative location, the fame of the featured artists, or just the enthusiasm and the desire to restart, the opening of “La rivoluzione silenziosa dell’arte in Veneto. 1910-1914 da Gino Rossi a Guidi e de Pisis” [“The Silent Revolution of Art in Veneto. 1910-1940 from Gino Rossi to Guidi and De Pisis”] that took place at Villa Ancilotto was attended by a record number of people. Mayor, councillors, sponsors, and curators declared themselves enthusiastic and honoured to have managed to organize the first post-Covid cultural event in Crocetta Del Montello (TV). The words “silent revolution” refer to dynamics that, despite not being even mentioned in art history faculties, contributed – quietly and under the cover of darkness – to develop a cultural context that gave birth to many big names of art. But let us make this introduction short and try to take an imaginary tour of the exhibition. It should not be difficult since, during the quarantine, we got familiar with imaginary tours in virtual museums. We reach the first floor and are immediately welcomed by Guglielmo Ciardi who, with two seascapes, a Venetian view, and Mattino azzurro calls the attention of every visitor, including those who are not accustomed to this pictorial season.

Recreated the suggestions of an era through the works by Guglielmo Ciardi, Arturo Martini, Filippo De Pisis and Virgilio Guidi  

We walk on and find ourselves surrounded by works by Luigi Cima, Giacomo Favretto, Pietro Fragiacomo, Luigi Nono and Ettore Tito, who kindled the spark of what would be acknowledged as a turning point, but only with the next generation. We enter another room. It is dedicated to the school of Burano and houses Umberto Moggioli’s landscapes, with their refined chromatic constructivism, Pio Semeghini’s exciting Bragozzo verde and Gino Rossi’s bold expressiveness, austere lines, and granitic compositions. Our gaze is attracted to a small ceramic by great artist Arturo Martini; it is called L’inglesina and dates from 1929-30, aka the period of the great terracotta works. Then, we step into the next room, where we meet Filippo De Pisis and Virgilio Guidi. This is probably the most powerful room of all. The still lifes and aerial, sensory landscape of Cortina by the former and Ritratto della moglie by the latter stand out for unparalleled beauty. They can be identified as the t wo most prominent exponents of this current, the first to succeed in distilling the essence of noble Venetian painting. The exhibition ends with a bewitching succession of works by Guido Cadorin, Cagnaccio di San Pietro, Felice Carena, Teodoro Wolf Ferrari, Fioravante Seibezzi, Nino Springolo, Fiorenzo Tomea and Aldo Voltolin. The virtual tour is over. Now, take a real one.  

La rivoluzione silenziosa
dell’arte in Veneto

1910-1940
da Gino Rossi a
Guidi e de Pisis
Villa Ancilotto
Crocetta del Montello
Until 27/12

The Author

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Cesare Orler firmly believes in the equivalence of art and life and would like to turn his life into a work of art, to paraphrase D'annunzio. He has a degree in Conservation of Cultural Heritage and Performing Arts Management, which he took in Venice, and is completing the master’s degree Programme in Contemporary Art History. He manages “Cesare's Corner", a TV broadcast on OrlerTV whose aim is to disseminate Contemporary Art. He closely follows emerging Italian artists and curates exhibitions and critical texts on them. He is a keen supporter of AW ArtMag. In addition to art, he also likes cinema and drinking beer, of which he is a refined connoisseur. Perhaps of all these things he can do well only the last one.

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