Eugenio Da Venezia
Venice 09/11/1900 - Ivi 07/09/1992
Eugenio Da Venezia was born on the 09 november of 1900 in Venice.
He studied painting at the National Institute of Art in Venice and subsequently at the Academy of Belle Arti of Venice, under the guide of masters Vittorio Bressanin, Emilio Paggiaro and Ettore Tito (years 1915-1923). From this period we have the designs of anatomical studies that Da Venezia executed, with to Maro Novati, at the anatomical area of the Civil Hospital of Venice.
Its love for the native city and for the Venice painting has guided to the color search. Main charateristic in subjects as: figures, flowers and landscapes.
He starter at the exibitions of Cà Pesaro in Venice, where from 1925 to 1956 he was invited with paintings.
He participated to the interregional Exibition of art of Florence (1933); to the interregional Exibition of art of Naples (1935); to the Review of the contemporary design to Florence (1937).
From 1932 to 1956 he participated as invited to the Biennale of Venice. Durino the 1934 Biennale editino he met the Duc de Trèvise - Sauvegarde de l’Art Francais - (real name Edouard Napoléon César Edmond Mortier de Trévise 1883 - 1946).
The Duc encouraged and invited him in 1935 to open a personal exibition in Paris.Here Eugenio Da Venezia lived periodically until 1938.
During such period Da Venezia met Pierre Bonnard. Pierre estimated and encouraged him, giving to him useful councils for its artistic development: to cultivate the shape with the color.
He came back definitively in Italy, with a personal exibition at Biennale Venice (1940).
As a result of this, the Ministry of Education named him for “clear titular reputation” teaching of Decoration painting at the Institute of art of Venice.
Subsequently, in 1947, he became teacher at Academy of Belle Arti of designated Figure. He participated, by invite, to exibitions of the Biennale abroad: to Vienna (1933), Warsaw, Cracovia, Poznan, Bucharest, Sofia, Praga, Brugge, Schaerbeek, Cairo (1935), Budapest (1936), Berlin (1937). Always by invite he participated: to the Trivenete of Padova (by 1934 to 1965), the Four-year ones of Rome (1935, 1943, 1948), to the “Forty years of Biennale the international one of Art of Venice” (1935), to the Prize “Paris” (1951), to the Prize “Rome” (1951), to the Prize “Michetti” of 1948, 1950, 1954, to the Prize “Marzotto” (1954, 1955). He exposed in numerous collective in Italy with the group of “the Thirteen” veneziani artists to Rome, Florence and Milan; with other groups of veneziani to Milan, Pavia and Rome, with the group of the “Painters of Bardonecchia” to Rome in 1951 and Milan in the 1953. He exposed with personal exibitions to Venice in 1934, to Paris in 1935, Venice in 1938, Biennale in 1940, to Milan in 1941, Cortina of Ampezzo in 1942, to Trento and Rovereto in 1949, to Venice in 1951 and the 1968 with one antalogia (works by 1930 to 1968) to the Bevilacqua the Masa of Venice.
Its works figure at:
Galleria Internazionale d’Arte Moderna di Venezia, Galleria d’Arte Moderna di Roma, Fondazione Querini Stampalia di Venezia, Museo Civico di Rovereto and at Assicurazioni Generali di Venezia, Fondazione Venezia, Fondazione Cassa di Risparmio di Padova e Rovigo and others.
The critical about Eugenio Da Venezia:
Nino Barbantini (1928 e 1949), Osvaldo Passerella (1930, 1935, 1936, 1937, 1938, 1940 e 1942), Marco Novati (1931), Pietro Scarpa (1931), A. Del Massa (1932 e 1933), A. Licudis (1934), Lina Casella (1935), G. Charensol (1935), Gaston Poulain (1935), L. Borghese (1935 e 1941), G.J. Gros (1935), Severo Pozzati (Sepo, 1935), G. Kunstler (1935), L. Bergamo (1935), Diego Valeri (1935, 1947 e 1966), Duc De Trèvise (1935), Famea (1935), G. Guerra (1937), Giulio Lorenzetti (1938), Ugo Nebbia (1941), D. Bonari (1941), Vincenzo Costantini (1941), Carrà (1941), Elio Zorzi (1941), Newton Canovi (1942), Leonida Rapaci (1942, 1948), A. Pais (1942), E. Gaifas (1942 e 1949), Ugo Facco De Lagarda (1947, 1956 e 1968), Vettor Querel (1948), Silvio Branzi (1949), Gino Damerini (1949, 1951), Guido Perocco (1949, 1951, 1956,1968 e successivi), G. De Marco (1949), Giulio De Carli (1949), M. Ulivi (1949), Marco Pola (1949), F. Castellani (1951), Paolo Rizzi (1968 e successivi), Manlio Alzetta (1968), Frank Rinaldo Burattin (1968), E. Zampetti (1968), Ettore Bellini (1968), Caludio Canovi (1968), Dino Formaggio and others, towards to the Giornate di Studio of the Fondazione Querini Stampalia of Venice.
Trade-union Exibition: Painting prize of City Hall of Venice (the 1930), Biennale of Venice: Prize of the Provincial Council of the economics for a landscape “the New Bridge Venice-Marghera (1932),
Interregional Exibition of Florence in the Parterre of S. Rooster,
Prize of the Head of the Government for a painting work (1933),
Eighth interprovinciale Exibition of the Belle Arti,
Prize of the Ministry of the Corporations for the picture “Risveglio” (Venice, 1937),
National Painting Exibition “I fiori nell’arte”: Prize (1951),
National Exibition of the “Burano Prize” with gold medal for the picture “Orti a Burano” (1951), National Exibition of Art of Trieste: medal of gold (1952),
National competition of the Ministry of Transportation for the execution of a mosaic panel for the new railway station of Venice: The Prize of tern (1953),
National Exibition “Piero Michetti”,
Prize “Marzotto”: rewarded for the picture “Nel mio studio” (1954), the Prize and execution of the work in mosaic in the Palace of the employee offices of Ministry LL.PP in Genoa (National Competition decorative works in mosaic) (1954), Le Colonete 1982.
Biography for Historical Periods:
Eugenio Da Venezia attended the studies granted by the Bevilacqua La Masa at Palazzo Carminati, entering to make part of the group known like "the youth of Carminati palace" (Seibezzi, Mori, Ravenna, Novati, for example). These artists, recognized as master Semeghini, opposed to the accademic and to the “order” through a post-impressionim painting of clear tones and landascapes.
The painting "in the open air" with a directly contact with the nature was an opposite characteristic against Tito and Bressanin Academy.
From 1925 he began to expose to the anniversaries exibitions of Cà Pesaro and in this period he started regarding mosaics. In the 1928 Eugenio Da Venezia married Urania Viola and he participated to II Exibition of Cà Pesaro paintings exposing also "Ritratto della signora Possenti".
He painted "il Martirio di Giovanni Berta" for the competition of access to the Trade-union Exibition of the 1930, work dispersed in the immediate post-war period. Other works of the period are "Urania", "Giorgio dormiente", "La famiglia". In 1932 he left from the study of Carminati palace for a new one more luminous and large at S. Felice.
In 1932 for the first time at the Biennale of Venice he participated winning the prize for the landscape with "Il nuovo ponte di Venezia-Marghera".
From 1933 he exposed outside Venice in collective exibitions.
Year that marked important events that they leave a trace in its artistic language: the encounter with Pierre Bonnard to XIX Biennale of Venice. As wrote Perocco in 1968, Bonnard comprised endured the talent of Da Venezia. Bonnard could not perceive an affinity with the young artist and he was with him generous in councils.
Bonnard insisted that Da Venezia cured the shape, that dominated the temperament in order to before reveal graphically the weight and the solidity of the subject to paint. After possessing the secrets deeply, he could destroy the shape, if it wanted. Still remembering Da Venezia, following the impulse of the pure colorist and the emotion that just the color knows to provoke in the pure apparition of the image.
At XIX Biennale he exposed "Figura bionda", "Urania" and "La famiglia" and in the same year near at restaurant "All’Angelo" hold its first personal exibition with 32 paintings.
On January 1935, thanks to the encounter with the Duc de Trèvise (Sauvegarde de l’Art Francais), Eugenio Da Venezia was in Paris where, introduced by its new one mecenate, held personal exibition to the "Carmine" Gallery, where exposed "Nudo disteso".
The relationship with Paris will continue periodically, for three/four years by 1935 to 1938, year that coincided with the dead of the Duc de Trèvise. These were years of intense artistic activity with important collective exibitions.
He participated in 1936 to XX the edition of the Biennale one of Venice with "Petunie", "Paesaggio", "Le modelle", "Ninfee" and "Pesci".
In 1937 he painted "Risveglio", that it testifies successfully the French experience. With this painting he gained the prize of the Ministry of the Corporations to VIII the Interprovinciale Exibition of the Mayoralty Belle Arti of Venice.
In 1940 he exposed to XXII Biennale of Venice with one personal room with works as "Athenia", "Alla festa", "Trasparenze".
By 1941 he began teacher at the National Institute of Art of Venice and in 1947 to the Academy of Belle Arti.
In 1942 he was invited to XXIII Biennale, with "Inizio di danza". In any case, from this period starter a change in the lagoon artistic culture. As far as the artistic search, it is attempted to find again a woven of information given by the organization of numerous exibitions and cultural initiatives with the rest of the Europe, after the world-wide war conflict. Also XXIV the Biennale of 1948, after six years of closing, introduces works of the most important artists and tendencies of the period with names as Picasso, Mondrian, Malevic, Kandinskij, Klee etc. The painting of Eugenio Da Venezia will not have influences, remaining faithful to its creed from the "Impressionism movement".
This was the period where Eugenio Da Venezia planned residential rooms in touristic zones, for example Cortina.
Its exposures continued, but it was the period in which he was recovered for a long period in hospital. Remembering the period he said "it was happened to find me from months ill in bed and to feel the need to paint. The doctor adviced against to me friendly, to avoid serious consequences; nevertheless the inner force was so big to push me to paint, so I did not attend to the council".
Eugenio Da Venezia recovered a new verve in paintings with the purchase of a villa at Collalto (near Conegliano). Here new atmospheres and new acquaintances allow him to paint with continuity and this made him to introduce to new collectors.
Naturally with passing of the years and the unavoidable physical problems, regarding his eyes, the painting stretches to weight, also remaining good in the landscapes and flowers subjects; he starter having problems from 1982 in the figurative part (knots and portrait).
Many exibitions are organized, culminating in 1990 with last, regarding its will to donate to the Foundation Querini Stampalia of Venice its main works in his possession.
At dawn on the 07 September of 1992 died in his Venice house.