Dino Martens (Venezia 1894 - Ivi 1970)
About Dino Martens Paul Rizzi wrote: "a few years after his death it is already difficult to find the most significant works. The best time of Martens is precisely what is now remote, where in him there were distant echoes neo-fifteenth united with supplier of crystal form, of Nordic descent. The gothic and expressionistic core emerge among many uncertainties and contradictions, even if the thrust of plen air of Friends Palace Carminati was felt more increasingly.
Best works of the show (unfortunately missing the big picture of the "Players bowls ", who had shot at the Biennale of'28), are precisely those around'30, like the still life with the pitcher and paper fish.
Together with Cagnaccio of San Pietro, Martens was a realistic dry and hard, planting precise, precisely i would say gothic (as Vivarini-Bellini); after that it cams the influence of the XX century, witnessed by the great self reminiscent of the hard plasticism of Carrą".

Dino Martens per Toso 1954

Dino Martens per Toso Oriente 1952 56

Dino Martens per Toso Oriente 52 56

Dino Martens Veduta di Venezia 1946 Olio su tavola cm 50X61
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