From 1930 Eugenio Da Venezia is a great colorist.
The color is a sweet essence, imported by the sweet of the pastel, but with some happy releases, where the Venice lesson of the touch painting reappears typically.
It was some day after the inauguration that the telephone in house Da Venezia rang: “there is Mr. Duc De Trèvise, Sauvegard de l’art francais, a cultured connoisseur of art collector with the order of “protecting the French art”.
Edouard Napoléon César Edmond Mortier de Trévise 1883 - 1946.
He introduced themselves in the study of S. Felice; he said to have a lot admired the 3 pictures exposed from Eugenio Da Venezia to the Biennalee and he wanted to see all the old and new things conserved by the painter.
At last he bought a landscape. “But he - he answared - has you never known Monet?” In truth, Da Venezia did not remember of this painter, but for sure he saw pictures at Biennalee (1932).
The Duc De Trèvise was remained hit, in particolar, by some pictures of ninfee that Da Venezia executed during the last few years, but he had admired also the figures.
The day after, the two met at he Biennale, in the French pavilion and here Bonnard complimented Da Venezia and in occasion of an other encounter, the had a long conversation: “you have, Bonnard said approximatly to Da Venezia, great qualities as clorist. Now for this reason you must insist in the study of the shape. We that for instinct we abandon ourselves to the color, we must be masters of the shape from being able some to make less anytime. And in order to destroy it, it must know it, the shape”.
Is it positive today, from many years of distance, to ask to us why for that preference of the Duc de Trèvise for Eugene Da Venezia.
Partially explanation was given to us when, in catalogues of the Paris exibition trace a parallel between the Venice painting (from Giovanni Bellini to now) and the French painting, finding a “natural relationship”. In effects, the young people of Palazzo Carminati, and in particular Seibezzi, were very close to the French impressionism movement.
For example the sweet and fresh color that characterizes the Venice views of Seibezzi and companions.
Da Venezia more than its friends, possessed the gift of chromatic harmonicas nuances; perhaps the candid fragrance of the image, with that of naif, appealed the Duc De Trèvise.
We must keep in mind that at Paris exibition the majority of the pictures was landscapes, and among these the veneziane views dominated
Works unavailable today.
The vision is synthetic, fast but clear, with a fresh color, often light. The reference of the Duc de Trèvise to Sisley is understood, which reply the indication of Leonida Rèpaci, that met Eugenio Da Venezia at the Carmine exibition in Paris.
Rèpaci wrote that the painting of Da Venezia “finds its ideal place between Sisley and De Pisis, between Monet and Mose Levy, being the impressionism of those masters the point of arrival of a modern sensibility.