The Venice Film Festival kicked off two days ago. However, due to the ongoing strike of Hollywood actors and writers, many will be absent from the event as they are unable to participate in publicity work. As a consequence, we may see fewer red carpet photo ops, but maybe this offers us the chance to explore a different spectrum of colors in connection with Venice, less vibrant than red maybe, but equally intriguing.
Among the images illustrating yesterday's post there was a painting by Italico Brass, showcasing a group of "impiraresse". In that case Brass used a more vivid palette, but there are other works in which he employed a more subtle one, with mauve tones, neutral cream, beige and ivory.
Some of these more subtle and muted shades reappear in Luchino Visconti's color choices for his film "Death in Venice". Those lilac hues, scattered throughout the film, are employed to symbolize the inner turmoil of the characters and the decaying beauty of Venice.
In both Brass's paintings of Venice and Visconti's "Death in Venice," color transcends mere decoration; it becomes a narrative component. Brass employs color to express the human experience, while Visconti's use of color serves as a visual metaphor for the psychological journey of the characters.
Among them, figures like Tadzio's mother (Silvana Mangano), adorned in delicate vanilla and soft pink attire, with hats wrapped in yards of ethereal tulle maline, appear to have sprung to life from an Italico Brass painting.
For those intrigued by Brass's work, an exhibition dedicated to him will open at Palazzo Loredan in Campo Santo Stefano, Venice, later this month (from September 29th to December 22nd).
Titled "Italico Brass: The Painter of Venice," this exhibition showcases a collection of 100 works, many of which have never been seen before. These pieces provide a vivid chronicle of life in the city, capturing its festivals, rituals, and events.
Brass (Gorizia 1870 - Venice 1943) studied at the Academy of Fine Arts in Munich and later in Paris, where he resided for seven years, frequenting the circles of the Impressionists. Upon returning from Paris in 1895, he became an integral part of the Venice art scene, making his debut at the inaugural Biennale that year. His participation was constant and highly appreciated, earning him the title of "Painter of Venice". He had his first solo exhibition at the 1910 Biennale, followed by both group and solo shows in many other countries.
Living in the residence at San Trovaso, Brass was part of the fabric of the city and also contributed to the sets and scenes needed along the Grand Canal when there were major celebrations.
Brass also acquired and restored the dilapidated Scuola Vecchia di S. Maria della Misericordia, adjacent to the Chiesa dell'Abbazia della Misericordia. This site became his studio, the home to his renowned collection of ancient art (he was also an art dealer), and a venue for art exhibitions.
Brass masterfully juxtaposes scenes from various facets of city life and across social classes: in his depictions of Venice, the painter erases pre-established hierarchies. His works portray elegant couples resting on the beach at the Lido, patrons at Café Florian in Piazza San Marco, but also working-class families picnicking, salt unloaders at the Zattere or puppeteers in San Barnaba and scenes from the winding streets of Venice - all with equal dignity and reverence.
Whether capturing a solemn procession in San Trovaso or the fervor of a soccer match in Sant'Elena, Brass's fascination with the city's peripheral areas is evident.
Brass's art embraces the diversity of Venice's life: his painting of the impiraresse, local craftswomen who used to thread glass beads with long needles, bring to life the intimate scenes of Corte Colonna and arouse the same attention and admiration as the grand procession of ecclesiastical authorities to the Redentore.
As a Brass-related exercise, if you're home, rewatch Luchino Visconti's "Death in Venice" and try to spot in it the shades employed by the painter; if you're instead in Venice, try to spot his nuances in the architectural features surrounding you or, for a fun experience, look for them in the window shops selling glass beads or (overpriced) friulane velvet slippers in multiple shades.
Image credits for this post
1.
Italico Brass
Conversazione sulla spiaggia (Conversation on the beach)
Oil on canvas, 73 x 92 cm
Private collection
Courtesy of lineadacqua
4.
Italico Brass
Al caffè Florian (At Café Florian, 1912)
Oil on canvas, 150 x 116 cm
Private collection
Courtesy lineadacqua
5.
Italico Brass
Venezia: la serenata (Venice: The Serenade, 1911 circa)
Oil on canvas, 95 x 118 cm
Private collection
Courtesy of lineadacqua
6.
Italico Brass,
La roulotte del coiffeur al Lido (The Hairdresser's Caravan at Lido, 1910-1911)
Oil on canvas, 38x46 cm
Private collection
Courtesy lineadacqua
7.
Italico Brass
Soccer Match at Sant’Elena,
Oil on canvas, 38x46,5 cm
Private collection
Courtesy lineadacqua
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