54 - Gino Rossi (1884–1947)

Gino Rossi (1884–1947) Canal with a Sailboat in Burano, approximately 1912 Oil on cardboard 22.3 x 29 cm Other inscriptions: “1093 NR,” “e con vela” on the reverse (the rest of the inscription is covered by labels) Distinguishing features: on the reverse, a label from the “Gino Rossi Exhibition,” Casa da Noal, Treviso, 1974, with the title and number 17; a label from the exhibition “Gino Rossi on the Centennial of His Birth,” Venice, 1984, with number 72; label from the “Gino Rossi Exhibition,” National Gallery of Modern Art, Rome, with title and date; label from the exhibition “From Van Gogh to Schiele,” Palazzo Forti, Verona, 1989; label from the exhibition “Gino Rossi,” Galleria dello Scudo, Verona, 1984; label from the exhibition “From Van Gogh to Schiele”; label from the exhibition “Gino Rossi,” Brescia; label from the Mario Rimoldi Collection, Cortina d’Ampezzo Provenance: Giorgio Levi Collection, Cortina d’Ampezzo; Mario Rimoldi Collection, Cortina d’Ampezzo; private collection, Verona; Galleria dello Scudo, Verona (until 2002); Veneto Banca Holding; Veneto Banca SpA in LCA Bibliography: Benno Geiger, “Gino Rossi pittore,” Venice, 1949, p. 55; Giovanni Carandente, ed., with an introduction by Palma Bucarelli, “Gino Rossi,” Rome, 1956, p. 31, no. 61; Luigi Menegazzi, ed., “Gino Rossi,” Milan, 1974, p. 90, no. 17; Luigi Menegazzi, entry, in “Gino Rossi. Commemorative Exhibition on the Centennial of His Birth,” Milan, 1983, p. 59, no. 49; Luigi Menegazzi, entry, in “Gino Rossi on the Centennial of His Birth,” Milan, 1984, p. 71, no. 72; Luigi Menegazzi, “Gino Rossi. General Catalog,” with contributions by Claudia Gian Ferrari, Milan, 1984, p. 71, no. 71; Giorgio Cortenova, ed., “From Van Gogh to Schiele. Expressionist Europe 1880–1918,” Milan, 1989, p. 141 (ill.), 263; Antonio Chiades, “Life of Gino Rossi,” with a contribution by Antonio A. Rizzoli, Maser (TV), 1991, p. 147 (ill.); Alessandro Del Puppo, entry, in Marco Goldin, ed., “Gino Rossi,” Conegliano, 2004, pp. 101–103, no. 23; Morena Abiti and Maddalena Calandri, “Gino Rossi Meets the Kids,” Treviso, 2009, pp. 18–19 (ill.); Mario Guderzo and Carlo Sala, eds., “Gino Rossi. Our Passion,” Asolo, 2010, pp. 56–57 (ill.) Exhibitions: “Gino Rossi Exhibition,” National Gallery of Modern Art, Rome, 1956; “Gino Rossi Exhibition,” Treviso, Casa da Noal, 1974; “Gino Rossi on the Centennial of His Birth,” Ca’ Vendramin Calergi, Venice, 1984; “Gino Rossi. Commemorative Exhibition on the Centennial of His Birth,” Galleria dello Scudo, Verona, 1984; “From Van Gogh to Schiele,” Palazzo Forti, Verona, 1989; “Gino Rossi,” Santa Giulia Museum, Brescia, October 23, 2004 – January 13, 2005; “Gino Rossi and Arturo Martini. A Dialogue and a Comparison,” curated by Claudia Gian Ferrari, Museo di Santa Caterina, Treviso, June–October 2005 (exhibition canceled); “Gino Rossi,” Museo Civico, Asolo, May 14–July 4, 2010 Condition. Support: 95% Condition. Surface: 95% For direct WhatsApp assistance before and during the live auction: +39 346 12 999 80 // Direct assistance via WhatsApp before and during the auction: +39 346 12 999 80 After a series of stays in Paris and Brittany (1905–6, 1907, 1909), in 1909 Gino Rossi moved to Burano with his wife, Bice Levi Minzi, and remained there until 1913. The couple lived in a house with two separate studios in the Tre Ponti neighborhood; and an active colony of artists—the very same ones exhibiting at the Ca’ Pesaro exhibitions—open to the major trends in painting from across the Alps (Umberto Moggioli, Luigi Scopinich, Pio Semeghini)—settled around them. Thus began a particularly fruitful period in the Venetian artist’s career, during which, amid the silence and simple life of the lagoon island—so reminiscent of the Breton landscape— he was able to successfully put into practice the reflections on the instinctiveness of the brushstroke and the purity of color that he had developed in previous years through careful study of the paintings of Gauguin, Matisse, and Van Gogh. Among the Burano landscapes, “Canal with a Sailboat in Burano” is one of the most confident and vibrant. Constructed with broad, impasto brushstrokes, the work depicts a traditional Venetian boat—the so-called “topo” with a “third-rigged” sail—passing along the waters of a canal. This vessel is suited for coastal navigation and used primarily for freight transport. The formal and chromatic balance achieved among the elements of the composition is perfect: the wall that divides the space in two; the sail—with its intense orange hue—in the lower left, mirrored by the house in the upper right; the branches of the plant in the foreground that multiply into those of the trees in the background, the striking succession of yellow flowers, and the curved lines inherited from Van Gogh that, like an echo, radiate from the water to define the bushes and clouds. A brilliance and chromatic fluidity destined to give way, beginning in 1913,