| |
|
|
 |
|
| 1946-1953: Return from the war
and the search for an identity |
|
 |
|
|
|
Portrait of L. Cillo,
1950 |
| |
|
|
|
|
 |
|
|
|
Lina, 1950 |
| |
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
|
|
In 1946, once the nightmare of war was
over, the long process of reconstruction began. Ernani first
found employment at Scalera Film (then at Giudecca) as a 'manual
painter' and later went to work at the hydrographic office
of the Venice Water Board as a technical artist. Initially, his
pictorial output fluctuated, reflecting a certain cultural ‘uncertainty'
typical of the venetian art scene of the nineteen forties. The
teachings of his masters were evident: one (Ercole Sibellato) tending
towards a symbolism with its floral ancestry in Vienna and Munich;
the other (Mario Disertori) leaning towards a highly structured impressionism.
On the one hand the experiences he had observed were uppermost:
the illustrious examples of a twentieth century style full of Mediterranean
classicism, as well as the plasticism of Funi, Sironi, and Carena.
He was particularly attracted by the work of Felice Carena and
would later attend his studio during the master's stay in Venice. The
teachings of Giulio Lorenzetti who had made him 'adore' the Renaissance,
especially the Tuscan Renaissance, are also apparent. |
|
| |
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
| |
| Venice, Scuola vecchia
della Misericordia,
1952/53 |
|
|
The Venice Bienniale of 1948
was a real revelation for him: he saw the impressionists, Turner
and Goya, and also discovered Kokoschka; he saw Picasso straight
away, and subsequently Braque, Matisse, Chagall, and Rouault. He
resumed painting with vigour. Carena encouraged him.
In 1950 he got married
after passing the selection for the position of art teacher. His
new professional stability made him want to devote himself more
deeply to painting. The teaching post allocated to him was in Vittorio
Veneto, where he remained from 1950 to 1953 and where (in 1952)
he would hold his first personal exhibition at the Hotel Terme.
We are at a turning point: a true turning point in the life of
Ernani.
[1953-1964…] | |
 |
|
San Martino Hill,
1950 |
| |
|
|
|
|
|
|
| |
|
 |
|
|
|
Serene motherhood, 1951 |
| |
|
|
|
|
|
|
|
|
|
|
| |
|
 |
|
Apples cascade, 1953 |
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
