An Artist's Love of Venice
As we are in the last days of the exhibition, Reflections and Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1945, I am beginning my parting thoughts about the exhibition moving on to another venue. How one is attracted to a piece of art is very personal. And since the works from this exhibition came from a private collection (as a promised gift to Dickinson College), the works acquired are very personal and are chosen for a variety of reasons: adding a piece for fun, a rare find, or serves as a complementary piece to another work or artist in the collection. But there is a cohesiveness about this collection--the sort of "chain of command" from Whistler to Menpes and Bacher, to Roth and Arms, Mauroner and Brugnoli--the legacy.
Fabio Mauroner, Trattoria "La Vida" (Campo San Giacomo dell'Orio), 1924.
Etching. The Trout Gallery, Dickinson College, Carlisle, PA, 2011.42
The influence of the artists looking at each others' work is revealed as one walks about the exhibition. It is interesting to note that Fabio Mauroner had a collection of thirteen prints created by Roth, many of which have individual greetings. John Taylor Arms owned some of Ernest Roth's prints. And certainly these are not isolated incidents of artists collecting other colleague's works.
Fabio Maruoner, Il Traghetto, 1907. Etching and drypoint. The Trout
Gallery, Dickinson College, Carlisle, PA. 2011.3.1
Although many artists in this exhibition did not receive the "red carpet star" fame as other artists of their period, their contributions for the artistry of etching and our appreciation of their work is no less diminished. I hope you will have the opportunity to see these works before the exhibition closes on December 13.
Denker, Eric. Reflections and Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, edited by Phillip Earenfight. Seattle: University of Washington Press, 2012.