The best of the born young people in the Veneto are passed at Cŕ Pesaro; i can say everibody. They make honor to Cŕ Pesaro. Who will visit also this second review, will exit some persuaded and consoled. The Venice painting always had, also in its up and down, a domestic appearance, a particolar sexiness of feeling of these pictures yesterday and today exposed here. At the end the mode goes away, but the paintings remain for ever.

NINO BARBANTINI (Presentation to the “Second Exibition of the Exibition Painters of Cŕ Pesaro” - 1925).

The art of Eugenio Da Venezia is light, full life, free, probably too much free for our mind. The Impressionism and the Fauvismo try this at the same time and they extract an atmosphere that becomes more than an instruction. Eugenio Da Venezia uses fresh and clear and colors: these carry him to find again the sun.

Gaston Poulain (In occasion of the personal exibition to Paris - Comoedia)

I was at the Biennale of Venice, on june 1934; inside the French section in front of Pierre Bonnard, I saw the enthusiasm of some youngs; one of they was Eugenio Da Venezia, that he manifested desire to show its works to me, in the center pavilion; after that he made me to enter in its study, where the fresh paintings rivaled of light with the windows, opened on the glare of the channels… In Venice, at the beginnig of the century, the true artists could not remain insensitive to Venice atmospheres, neither to the divine faces, that Bellini has combed; also the young Italian generation and Eugenio Da Venezia in particular, have found by theirself, without finding supports and friendships. In 1932, the jury could choose among all, the paintings of Eugenio Da venezia for the competition destined to exalt the works of the fascist regimen; this woven was however not “intellectual”, thanks to God.
The painting was a landscape, where the construction of the bridge of the Littorio has allowed to oppose the yellow nice earth, recently brought there, with the greens and the blue of the sea and the sky; the truth is that for sure the commission had not a positive view about this painting.
Already in 1931, Mr. Focolari had bought, for the king of Italy collections, for sure the study of “Figura bionda”, signed by Eugenio da Venezia.
His sharpness of its design and his purity of its technique have rendered possible to distinguish him; effectively, Eugenio Da Venezia, works have Parisians looks, which he knows the requirements, but of which he possesses without acquaintances, the fine quality.

Duc de Trčvise (Sauvegarde de l' Art Francais) (By the presentation to the exposure held to Paris to the Gallery “Carmine” in March 1935)

Eugenio Da Venezia writes with the certainty the Latin landscapes. The personal art have not nothing of official and the merit of this young artist is only by its just development. Through the modern French masters, that he never known, he has made, like one prescience, its art revolution.

G.I. Gros (Exibition to Paris “Paris-Midi”, You open them 1935)

In front of its works we felt disarmed to you by all the preconcepts and I accept Da Venezia as a trueborn with art as a single reason of life. We see rather what it wants to say to us and we put ourselves gladly to the search of its personality, we find: warm breath and loving poetic - one immense chromatic vision of the nature - a need instinctive to paint. Delicate and aristocrat, this painting spouse, for sure affinities, the heroic school (all spiritual and visual one) that was of the French impressionism, entered in the history of the Art… For the moment he remains what himself: poet of the light and the color; sincere expressions of its art and its love for the life. The “Canal Grande” is a work where for sure the artist gives to us the true measure of its talent and its personality.

Sepo (Filippo Pozzati) in occasion of the personal exibition in Paris “La nuova Italia”, april 11 1935

This Venice painter, that has of its city door the memory in his name, is lost in love of his beautiful Venice; in fact the spirit of its kind city always translate in art work, even if he paints landscapes, still life, figures lacoons. From his first appeareance to Cŕ Pesaro in 1925, we notice a continuous rise; it is a continuous improving of himself, although its inner emotion is still to its primitive expression, because from his first periodi s only art expression. Eugenio Da Venezia is an excellent colorist, and abou colour he is improving his art. In its juvenile works the perfect fusion of the colors, the nice music of the tones is obtained by few shadings, even of one same color. His palette has become rich, with skillful fusion of contrasting colors with an emotional force that we can find in his art.

Gino Guerra (“Il Gazzettino”, Venice 1937)

Painting by Eugenio Da Venezia, made essentially of light and color: pure, colour of full light. Nostalgic lagoon views and wide and luminous aspects of countryside; soft delicacies of knots and evocative fantasies of colors. The flowers: the life of this world dumb, but therefore rich and also varied of tones, of voices; joyful explosions of red and yellows, refine agreements of pink, velvet, blue. And here, in contrast, nostalgic, the soft ones, delicate lacoons visions, along the placid river of the Brenta! Is always the light the prevailing element, the element prince of the painting of Eugenio Da Venezia; the wide luminous breath, as it was said, is and will remain always its higher and essential quality.

Giulio Lorenzetti (preface to the catalogue of the held personal exibition to Venice, November 1938)

“Eugenio Da Venezia, born to the beginning of the century, has the blood stimmate of the tradition of artists. This tradition is exquisitely from Venice and for this reason, he is essentially a light painter. The road he has chosen it has not been indicated by the “currents of vanguard”, which attend, in the field of the art, to the launch new tendencies. He has been bild by himself, following his instinct, his field of search and his taste. Dominated by the worry to find new colours resonances in the Gloria of the light, Eugenio Da Venezia bravely faces the problems of the light. Eugenio Da Venezia is the best in giving life, with a joyful song of colors, to the grace of the flowers and in representing, with loving delicacy the Lacoons landscapes of Venice. Essentially lyric temperament, he knows to animate with a poetry breath intimate the islands near Venice, the gardens of Burano and Torcello.

Elio Zorzi (by the preface to the catalogue of the exibition of Milan, 1941)

… Eugenio Da Venezia among beautiful groups of works notice the vigorous portrait of Miss. Possenti. He is a brave and strong artist and he is one of the best hopes of the young Venice painting.

Nino Barbnantini (in occasion of XIX the exibition of the Bevilacqua La Masa, “Gazzettino” of Venice, 1941)

We notice, at the Gallery of the Annunziata, the conquest of one caught up personal style. Da Venezia he is a typical venicee painter. The inspired gracefulnesses of style, the elegance, the concept and the shape, come from an aristocratic accent from the Venice 1700's. Elegance filtered through acquaintances of modern artists, but mixed in a delicate feeling. On this line of fineness all the pictures of flowers are here. Also the landscapes come from the great Venice tradition for that calm and for that pearl light with which only the Venice painters know to render the fascination of the laccons islands. Da Venezia dominates well the feminine figure. The more important conquest of the artist is in the immense painting “Il risveglio”, dominated by one acute technique with the predominion of the factor of light. With this, he is next to the conquest of an important target.

Dario Bonardi (in occasion of the personal exibition to the Gallery of the Annunziiata, Milan, “La sera”, 1941)

Da Venezia is come to the painting through a preparation with the aid of one perfect acquaintance of spiritual and artistic values. He is not an improvised painter. We are convinced that its natural fingers are an important part to illustrate the work of an artist. Eugenio Da Venezia that, after giving continuous tests of its ability, of its inspiration, of its personalities, this year he is going to the Biennale with a personal room.

Vettorel Querel (“Il globo”, Milan, 1948)

I have met Eugenio Da Venezia in Paris in 1935. He exposed to “Galleria Carmine” in Rue de Seine, a group of forty works, landscapes in great part. These attracted attention for the sharpness of the supported atmospheric search. “Alla festa” exposed to last Biennale of Venice, to testifies the conquests of impressionism, living again them through the memory of the richest Venice tradition. The exibition opened to the Grossetti gallery, confirms the expressive maturity of Da Venezia. His paintings find an ideal place among Sisley and De Pisis, among Monet and Mose Levy, being the impressionismo of those masters the point of arrival of a modern sensibility that has made of the luminous interpretation of the truth and nearly an apotheosis of it… We have approximately 40 works, of prtraits, knots, flowers, still life and landscapes.

Leonida Rčpaci (by the volume “Gallery”, and Meschina, Milan 1948)

Is necessary to specify, however, that Eugenio Da Venezia is not a restless and tormented artist, searching clamorous successes through exhibitions controversies. This exibition of Da Venezia, with thirty paintings, documents the values of its art. They are flowers and landscapes, within iridate atmospheres, where light and color s' alternate, according to a lyric emotion. The language is a luminous accesss code of delicate range, is carried out for rarefied valuing drawings up the clear imprimiture.

Giulio De Carli (In occasion of the personal exibition, Trento, “the Trentino People”, October 1949).

The Venetian painter Eugenio Da Venezia, from La Valigia association, exhibits these days at the art gallery Trento. His painting is set on a clear palette, his landscapes are searched for the atmosphere, resulting in a stroke dissolved, merged, delicate. That faint, sweet poetry of the islands, where landscapes are non-existent and the artist re-create in a tonal sequence. His still lifes are revived occasionally by flashes of light that enlivened the framework, while others are played on muted grays and yellows. The figure is maintained over a range light, made for cloudiness, which makes it pasty and amalgamated.

Mario Ulivi (on the occasion of personal exhibition in Trento, Alto Adige, Trento, 1949)

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