La pittura di paesaggio tra scuola del vero e moda simbolista
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.
Keywords: Symbolism • 1913 • Landscape painting • Fondazione Bevilacqua La Masa