The donation of the collection of paintings by the spouses Renato Bruson and Tita Tegano dates back to 2014, with these words from the baritone: “I love this city. Here I sang and received unconditional applause and affection. Until now, I have only been able to see my paintings three or four times a year, when I returned from tours around the world. With Tita we shared the idea of donating them so that others could share the same pleasure we had in owning them ".
Towing artillery (1868/1870) by Fattori GiovanniCollezione Fondazione Cariparma
The choice of the works was dictated by individual preferences and inclinations, such as the territory of origin, the personal experience and the artistic career of the baritone.
The lagoon's charm
Lagoon drawings and paintings certainly recall the Venetian origin of Bruson, as he wanted to surround himself with painters like Ciardi, a keen interpreter of the melancholy views of the lagoon immersed in absolute silence.
Boatmen in the lagoon (XIX sec., fine) by Fragiacomo PietroCollezione Fondazione Cariparma
"As a boy when I went from Este to Chioggia by bicycle, I was fascinated by the lagoon landscape, by the fishermen's boats, with the colored sails and the men who deposited the baskets on the shore".
Portrait of a young maiden (XIX sec., fine) by Zezzos AlessandroCollezione Fondazione Cariparma
Alessandro Zezzos was able to transfer the melancholy of the lagoon landscape into the deep blue eyes of the girl with a contemplative soul typical of all those who love the lagoon.
Painting the countryside
Among the merits of Bruson there is certainly the coherence demonstrated in knowing how to compose homogeneous groups of schools, the Venetian one especially, but also the Tuscan one for which he shows particular regard.
Fisherman of the Marshes of Bientina (1872) by Banti CristianoCollezione Fondazione Cariparma
He had been fascinated by rural landscapes dominated by a sense of poignant admiration for nature and scenes of peasant life designed to instill a feeling of respect for the human condition.
Towing artillery (1868/1870) by Fattori GiovanniCollezione Fondazione Cariparma
“My first love were the Macchiaioli, to which I dedicated my first earnings in the early Seventies. It gave me satisfaction to take the military posts of Fattori...
Portrait of a young maiden (XIX sec., fine) by Signorini TelemacoCollezione Fondazione Cariparma
... the delicate landscapes of Cecconi, Lega, Cannicci, Borrani, the sulky girl of Telemaco Signorini ".
The first born (1893) by Paietta PietroCollezione Fondazione Cariparma
... Pietro Pajetta's poetic depiction of motherhood. I started hanging these artworks on the walls of the Este house... Without forgetting the beloved Venetians, who reminded me of my childhood".
The pictorial melodies
The interest in Boldini is driven by the passion for the theater that characterized the life and art of the artist, a perfect interpreter of the Parisian scene of those years and whose painting was compared to "bel canto". His quick, vibrant brushstrokes challenged the limits like a sharp pushed to excess.
Lady lying on the sofa (Endormie) (1895) by Giovanni BoldiniCollezione Fondazione Cariparma
"Later I bought a beautiful watercolor, the Lady lying on Boldini's sofa ... with his confident, fast, vibrant stroke like bel canto reminds me of music".
Blond lady in evening gown (XIX sec., fine) by Giovanni BoldiniCollezione Fondazione Cariparma
"Speaking of my growing interest in the artist, my trusted gallery owner took me to his house, where the blonde lady in evening dress was waiting for me...
... I couldn't take my eyes off that elegant figure; the freshness of the traits, the sophisticated theatricality, the quick brushes... I didn't have to think twice, the painting was already mine even before negotiating the price ”.
Light blue (1909) by Tito EttoreCollezione Fondazione Cariparma
"I then put in the company of the blond lady other ladies, of great elegance, the one with the blue eyes by Ettore Tito".
Ettore Tito is among those who "paint as they sing". Bruson also knew how to recognize in the artist's nervous and dynamic gesture a symphony accentuated by infinite chromatic variations of blues.
Portrait of a woman (1912) by Alciati AntonioCollezione Fondazione Cariparma
And then "the Portrait of a Woman by Alciati and the elegant and very worldly ladies with the showy hairstyles of Mariani... who so much remind me of Traviata's friends".
Text by Fondazione Cariparma and Artificio Società Cooperativa
