Ida Barbarigo
From →
Hong Kong
Pictures of the exhibition
Ida Barbarigo
From →
Hong Kong
Story of the exhibition
Ida Barbarigo was born into a family of artists, architects and sculptors. She transitioned away from architecture studies in order to study painting at the Academia di Belle Arti in Venice. Her work was influenced by many painters, including Giotto and Cimabue, as well as the art of early civilizations. Her restlessness and curiosity led her to travel. In 1952 she moved to Paris. The skill of drawing was of great importance during her initial years of artistic activity. After an early figurative period that included painting and engraving, she formed a distinctive personal style with work that tended towards abstraction.
She lived between Venice and Paris from 1959 onwards, coming into contact with other artists, critics and art historians, such as Léon Gischia, Jean Bouret and Pierre Francastel. Her marriage to artist Zoran Mušič was influential to both of their lives and careers. In 1978, she returned to Venice to live and work in an old studio, where she said that she rediscovered the atmosphere of the house in which she was born.
Drawing was of great importance to her during the first years of her activity. Gradually, she formed a personal way of seeing, developing a distinctive creativity, especially in the fields of painting and engraving. After an early figurative period, Barbarigo formed a personal style with work that tends towards abstraction.
Her paintings in the late 1950s and early 1960s are particularly modern, because they display an avant-garde ability to paint the unseen, the void. As early as Fontana, Ryman and Gutai artists, Barbarigo’s work sought to capture the invisible architecture of emptiness. Her work is a logbook, consisting of a number of series, which seek not to evoke, but to invoke, the silent spirit of the present.
She explored the world around her and examined the energy of public squares and terraces. She used café and restaurant chairs in the squares of Venice and Paris as her first theme, in the series Le Seggiole (Chairs). From 1961 to 1976, she worked on this subject repeatedly in a series of oils and small watercolours. She treated the chair as a structural, compositional element, and painted the energy in between their forms.
"Why chairs? I see in them the rhythms and structures that I find indispensable for the spaces that I unconsciously invent (…) it is an instinct that draws me towards those cafés, and the chairs on the terraces, suspended above the water, seeming to be slumbering in the sun, wrapped up in mist."
Her paintings are the outcome of a series of jottings taken from life—notes of the places and scenes that captivated her most, such as cafés, terraces and squares. These walks were steeped in the ephemeral: morphologies of air slipping through the void. She titled these works Passeggiate (Walks): "I am fascinated by the strange way that a line can break away from the landscape. That point of rupture between a visible thing and something you cannot see. And it is the air that passes through it."
The titles of some of her other paintings are often snatches of conversation overheard by chance, words uttered by some of the occasional occupants of the chairs. These paintings show evidence of her profound familiarity with the psychological understanding of the human being, expressing the feeling of impressions conveyed with realism that uncovers a new aspect of the city.
When she reached the age of 90, Ida Barbarigo started painting again. These works, which she titled, L’Unità nel Profondo, express the energy of nature in its depth. Using a cluster of strokes and smears and dripping lines arranged in space, she reveals the space of the picture and its endless possibilities.
"Something you are accustomed to seeing every day, which all of a sudden appears eternal, inexpressible. A continuous alteration of refracting forms, the chairs and their shadows appear closed off from the space that accentuates their forms but leaves them in negative."