R.Tassi and his Painters

..........................................................Gianfranco Malafarina............................................

Revisiting the last two centuries of the European

painting accompanied by an art critic of wise conception and great sensibility.
And maybe, while masses of possessed tourists crowd the great Venetian exhibitions, avail oneself of the of the opportunity to enjoy some days perfectly happy among the hills, the villas and vineyards as far as the eye can see of the

Trevigiana March, the “Love March “ of the Republic of Venice, so dear to the art friends and the wine ones.
It is really an unique opportunity the one it has been offered to us in Treviso and Conegliano by Marco Goldin, who, supported by a valid scientific committee, wanted to realize the great “secret dream “ of Roberto Tassi.
Joining together in a wide and articulated exposition all the masters who have every now awoken interest, passion, the real falling in love with painting of this physician, lighten by art in the earlier years “along the Damask way“ and who became soon, during the post-war, a reference of our art critic that could not be disregarded.

The works, that have arrived in the two exhibition places from more than 20 museums all over Europe and from several private collections, are more than 200 and notwithstanding the earlier misfortunes concerning some museums of ours (robberies, tampering, gashes), it concerns certainly not minor

or unimportant canvas.
It is enough to mention for all the famous “Wheat field with the plain of La Cros” of Van Gogh, dated 1888, one of the most intensive and touching landscapes of the Arles period. Or the eight clamorous Monet, the painter Tassi hasloved the most, who in the light tremble, quivering sensibility of the great

impressionist read a clear premonition of modernity and a longing perception of the time, like in the Search of Proust.
And than all the protagonists of that high and uninterrupted meditation about man, the form, the nature which from Corot, Courbet, Delacroix arrive, in the French figurative culture, to the revolutionary lesson of the impressionists and once over the

century up to to Cézanne, Matisse, Picasso, Braque and influences Giacometti, Soutine, De Staël.
The Italians, in this contexture, are not less than others, as it is testified by the chronological particulars at the Conegliano section.
Surely, in this case, what arises from of the two expositions, beyond the exceptional painting greatness of the bystanders, is exactly the kind, moved, human presence of the art critic writer,

winner for once of the ancient dsipute between arts and art critics.
All that thanks to a language, a prose, an interpretative aptitude that made the student's subjective, momentary interior illumination become an objective value beyond time, precious riches, common to all his readers.
It has happened few times, in the past: it happened with Roberto Longhi, Francesco Arcangeli, Luigi Carluccio. And unfortunately it happens rather seldom.

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