Storie dell’arte contemporanea

Tullio Garbari alla mostra di Ca’ Pesaro del 1913

«Un altro principio, più selvaggio e più solo»

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Abstract

The painter Tullio Garbari, even before taking part into the collective exhibition held at the Venetian palace Ca’ Pesaro in 1913, had a foreshadowing: his works of art would appear transformed and he would look like “a new Garbari: or dying or unborn”. He meant that a stylistic metamorphosis was happening in his paintings, but also in his life. Relationships with the Florentine milieu, particularly with Ardengo Soffici, Giovanni Papini and Giuseppe Prezzolini, orbiting around the journal <i>La Voce</i>, actually brought about changes in the influences of the Vienna Secession he fostered in his early education in Trentino, in northern Italy, and in the Decadent fascination acquired at the Fine Art Academy in Venice. The artist, the writer Carlo Belli called “the Angel in civilian clothes”, was of course influenced by ‘capesarini’ artists such as Gino Rossi, Umberto Moggioli and Teodoro Wolf Ferrari, but maybe even more by his staying in Florence, where those new friends were rediscovering and celebrating Post Impressionists.


Open access

Published Dec. 16, 2017 | Language: it

Keywords Paul Cézanne • Nino Barbantini • Paul Gauguin • Tullio Garbari • Teodoro Wolf Ferrari • Giovanni Papini • Post Impressionism • Oscar Ghiglia • Ardengo Soffici • Ca’ Pesaro • Gino Rossi • Umberto Moggioli • Florence • Venice

Copyright © 2017 Stefania Portinari. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

Permalink http://doi.org/10.14277/6969-197-3/SAC-1-3


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