(March 24, 2017) From Boldini to Fragiacomo, from Zandomeneghi to Santoro: these are some of the artists featured in the exhibition "Memories of Serenissima", a glimpse of Venetian painting from the 30s of the 19th century up to the early decades of the 20th. After being exhibited in New York, at the Italian Institute of Culture in early March in conjunction with the important celebrations of Venice at Carnegie Hall, the exhibition arrives in Modena, until Saturday, April 8, at the study of Modena curator Marco Bertoli (via Carlo Farini 56), with free admission. A unique opportunity to admire the twenty works on display, all from private collections, selected by Bertoli - Christie's consultant in New York and London - offering a panorama of the Venetian school of the "real" with landscapes, genre scenes, portraits, seascapes and views in which the artists have captured the colors and atmosphere of the Venetian city. This exhibition of 19th century Italian painting, after "The Macchiaioli" in October 2014 and "The light of Southern Italy", is the third organized by Bertoli in collaboration with the Italian Institute of Culture in New York: a series of initiatives to highlight the richness of Italian culture to the American public. Art consultant at the studio Marco Bertoli-Art Consulting of Modena, in 2009 Bertoli has opened a studio in New York, specializing in the art of the 19th and the early 20th century, but also in painting and contemporary Italian sculpture. "Memories of Serenissima" is a pictorial essay on a century of development - explains Bertoli - not always linear, with several works that allow us to offer a panorama, as faithful as possible, of the Venetian school in its evolution, also stimulated by the institution, in in 1895, the first International Art Biennale in Venice, which still reminds us of the artistic and cultural importance of this city. " (Red)

ABOUT / THE WORKS ON DISPLAY

Among the works on display some bright marinas by Guglielmo Ciardi, one of the greatest Venetian landscape artist, able to let the eye of the viewer penetrate into the work, where the focal point becomes the luminous dialogue between the sky and the water of the Venetian lagoon. Also on show paintings of his children Emma and Beppe, and then a dense view of atmospheric effects of Pietro Fragiacomo and a series of works depicting a careful language to the definition of the particular fragments of daily life and social realities of Venice, made of poor interior, affected domestic and popular celebrations. Among others to remember "Festa di Battesimo" by Eugenio de Blaas, "Erbe e Frutta" by Giacomo Favretto, "La famiglia del gondoliere" by Alessandro Milesi, "La festa del Redentore a Venezia" by Antonio Rotta, as well as two Parisians interiors of the Venetian Federico Zandomeneghi, able to make the light determine tonal variations of color. And then the works of some of the greatest interpreters of the lagoon, among them the Calabrian Rubens Santoro with "Venice", selected as featured image of the exhibition, and Ferrara’s Giovanni Boldini, who made views of the city at different times of his life, between 1887 and 1913, in which he gradually seems to abandon any descriptive intent and adopts, as in "Venezia. Punta della Dogana", on exhibit, a style made by touches increasingly rapid and concise