33
"La chiesa di San Giorgio a Venezia" - Emma Ciardi
1/7
Beschreibung
(Venezia 1879 - Venezia 1933)
Cm 28x37 | In 11.02x14.57
Oil on panel
A daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.
Cm 28x37 | In 11.02x14.57
Oil on panel
A daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.
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(Venezia 1879 - Venezia 1933)
Cm 28x37 | In 11.02x14.57
Oil on panel
A daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.
Cm 28x37 | In 11.02x14.57
Oil on panel
A daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.
AUKTION 38 – 27. Mai 2023 um 15 Uhr – Gemälde des 19. und 20. Jahrhunderts
Auktionsdatum
Lose: 50
Ort der Versteigerung
Via F. Cairoli
Brescia
25122
Italy
Pleace contact the auctioneer for info regarding shipping/pick up.
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Please check each lot individually for buyer's premium and additonal costs.
AGB
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via Cairoli, 26 - 25122 Brescia
