Etching I Vespri a San Marco by Fabio Mauroner, 1906

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Fabio Mauroner (Udine 1884 - Venice 1948) was an art historian, collector and engraver Italian, belonging to a family of Friulian landowners of noble origins attended school in Rome. He then moved to Venice where he attended the School of Nude at the Academy of Fine Arts, here he met Amedeo Modigliani with whom he shared the study, as evidence of this friendship are two portraits, two pastels now kept at the Civic Museums of Udine. Mauroner decides to devote himself to the art of chalcography thanks to the encounter with the Scottish engraver Edward Millington Synge (1860 - 1913), assimilates the style of the Anglo-Saxon school grafting on the model of the eighteenth-century Venetian tradition. In 1926 he married Cecilia Fortuny, daughter and granddaughter of two incomparable artists, a sign of the refined and cosmopolitan Venetian climate in which Mauroner was immersed and which certainly forged his taste. Attentive to the effects of light on surfaces, to chiaroscuro contrasts and perspective volumes, he adopted a fine and delicate sign, deep blacks obtained with thick cross-hatching. It regularly exposes to the Venetian Biennal exhibition and the numerous travels in the world allow him to weave a net of useful contacts so much to his art (exposes in fact to Paris, London, New York, Los Angeles) how much to the formation of his collection of international graphics then given to the Civic Museums of Udine. And' considered from the criticism like "the last Venetian vedutista". From 1939 he devoted himself exclusively to the study of the Venetian engraving art of the eighteenth century and the promotion of contemporary engraving collaborating in various editions of the Venetian Biennale. In this early example of Mauroner's production we see depicted a detail of the interior of the Basilica of San Marco. The perspective cut and the chromatic moment is chosen with great awareness. The large rose window illuminated from the outside dominates the scene, the light of the sun that we imagine high in the sky cuts diagonally across the back wall and illuminates the area of the altar on the left. The detail of the pious women in prayer curved on chairs and covered with silk shawls remains in the shadows, the light itself helps to emphasize the idea of recollection and silence. Edition of 20 numbered and signed copies. Excellent impression with deep and intense blacks. Excellent state of conservation. Signature in pencil at lower right "Fabio Mauroner", at left, in pencil, 18/20 - Venice. Engraved monogram at lower right inside the subject. Bibliography: Isabella Reale, Fabio Mauroner Incisore, page 42 n.22

ID: 11318-1613066353-15426