Series |
Storie dell’arte contemporanea
Review | Gli artisti di Ca’ Pesaro
Chapter | La pittura di paesaggio tra scuola del vero e moda simbolista
La pittura di paesaggio tra scuola del vero e moda simbolista
Abstract
The text proposes a transversal observation of the collective exhibition Bevilacqua La Masa of 1913, based on the impact of symbolist elements in the representation of the landscape. In fact, the diffusion of expressive languages linked to the climate of Symbolism had met, in the Venetian area, an extensive development; it could be found so much in the participations at the youth’s exhibitions as well as in the Biennales. On the wave of the North European poetics, where a correspondence was established between landscape and state of mind, many artists of different backgrounds and levels experienced what was called ‘Nordic obsession’: they engaged in a renewed interpretation of the landscape genre and associated it with a repertoire of subjects and recurring features. The attraction towards the nocturnal fashion lasted well beyond the temporal limits traditionally associated with the phenomenon, extinguishing only at the threshold of the First World War.
Published Dec. 16, 2017 | Language: it
Keywords Landscape painting • Symbolism • Fondazione Bevilacqua La Masa • 1913
Copyright © 2017 Elisa Prete. 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-1-6
