ROME.- Ponti Art Gallery is offering important masterpieces coming from several private collections gathered in the usual monthly exhibition aimed to the sale. The selection starts from a series of oil paintings, made by Domenico Bresolin. Settled in Venice, where he trained at the Academy of Fine Arts in Venice with G. Borsato, T. Orsi and F. Bagnara, after brief stays in Florence and Rome, Domenico Bresolin, who was welcomed on May 13, 1830 among the “members of art “of the Venetian Academy of Fine Arts, he devoted himself to photography as a functional study tool for improving the outcomes of painting, especially in the field of perspective and verisimilitude. Bresolin performs high quality photographic prints, characterized by an extreme compositional rigor, which recall monuments and Venetian palaces with the spirit of a systematic photographic recording, making use initially of the calotype technique and subsequently of wet collodion negatives. In 1864, appointed professor of Landscape at the Academy, he abandoned his work as a photographer to devote himself exclusively to painting and gave his own archive of plates to the photographer Carlo Ponti. His way of painting that influenced among other artists such as G. Ciardi, G. Favretto, L. Nono, A. Milesi and E. Tito, was not finished according to the most widespread taste in the time, but it was rather strongly chiaroscuro, with uneven brushstrokes, almost in impression, with sunset lights and suggestive reflections. In fact, Bresolin had initially tried to adopt pictorial techniques very similar to those adopted later by the Macchiaioli.

Nevertheless his name was soon forgotten: many of his paintings, in commerce and in collections, have been attributed to G. Ciardi. But the great development assumed by the study of the landscape, in the Veneto, at the end of the century. XIX and the beginning of the XX, it is also due to the passion that the modest and tenacious Bresolin was able to infuse in the school. This is demonstrated by the series of three oils presented here, depicting those with the latest dating, dating back to 1842, two Venetian squeri, or the typical construction sites of the lagoon where rowing boats are built; while the last one, datable to the five-year period 1843-48, a foreshortening with a Tuscan landscape along the course of the Arno, probable testimony of the study stay conducted by the Venetian painter in Florence with C. Markò senior. The three works can constitute a significant anticipation of the new model of painting marked by resigned subjects and by a committed realistic research.

The selection of the proposal displayed by Ponti Art Gallery continues with a wonderful painting by Alessio Issupoff. Originally from Vyatka, in northern Russia, but trained at the School of Painting, Sculpture and Architecture in Moscow under the leadership of the fathers of Russian national painting Valentin Serov and Konstantin Korovin, Issupoff prefers a landscape painting, which will only open in the years of maturity. to portraits. The bright colors and the evanescence of light, stylistic figures of Issupoff’s brushstrokes found even in this snow-covered landscape, suggest its closeness to the French-derived Russian naturalism-impressionism headed by names like Isaak Levitan, Valentin Serov and Filipp Maliavine. In particular, the work presented here, datable to the Twenties, constitutes tangible proof of the moving and unstable brushstroke, characterized by an unmistakable speed and chromatic ignition, typical of the ductus pictorial of the Russian painter, who moved definitively to Italy in the 1926. The snowy landscapes of its land are tempting for European collectors: the often flaked and certainly impressionist matrix, very fast in defining the violent patches of color, as it is clearly visible in the landscape presented here, still fascinates for the chromatic potential and lighting.

The further important artworks offered by Roman gallery are an oil on paper by Cesare Tacchi, dedicated to his passion for cars, a tempera on paper by Giulio Turcato who was an Italian painter, one of the main exponents of Italian informal abstraction. In 1973 the city of Spoleto dedicated a first anthological exhibition to him, curated by Giovanni Carandente, followed one year later by a larger one at the Palazzo delle Esposizioni in Rome. Precisely at the first anthological exhibition in Spoleto, set up in the XVI Festival of the two worlds, the work presented here, coming from the collection of the painter Mario Padovan, can be traced back: in particular, this grid is to be considered a project for the catalog cover “Giulio Turcato. Works from 1954 to 1973” published by the Nuova Foglio Editore in 1973 and edited by Vana Caruso.