The Birmingham age-herald., 1913-03-02

a plan that entered in the future
schemes of this young man, it was his
ambitious idea to build up art.
But" argued his sage advisers.
why not employ your money to re-
establish a mighty modern Iialyy.'
Grubiey quickly responded. Ancient
Italy was glorious in her arts. What il
tie fame of the greatest generals The
/ most pow erful princes, to that OF
Michel Angelo. Raphael. Titan. Dante.
1asso and Palestrina? So the future OF
young Italy must be In the arts
Grubicy realized that Italian art had
been slumbering for centuries since
Tiepolo there had risen no niasterful
painter. All initiative was lost. The rich
blood of the old MASTERS was like
limpid water in the veins of the new
generations The modern painter had
no personal note;p he was slmnlv an
imitator of the fifteenth and sixteenth
century style and colorins Pot boil
ers flooded the exhibitions. the salons
Iand hung on the walls of rich amaze
feirs This eternal resurrection of the
corpses of q bygone glory was IN
Grubicy distasteful and he began his
search for the man of originality in his
work, one who had vigor, indiyiduality
and vital expression
Grubicy's first find occurred a feu.
years before this while he was in tho
army fighting for Italys Independence
He made the acquaintance of Tran
quillo Crenona, an impressfonistic ar
tist of a tender, poetical nature. At that
time There was no accepted place for
impressionism in art. Cremona was
poor and no one would buy his Dic-
lures, but he would deviate from the
pa tn of painting nature as he saw it,
Grubiey recognized the germ and not
only bought his pictures, but exhib-
tied them in the different cities on
the continent to make the creator
known. 1t was long time before the
public would accept him, for Cremona
was a revolutionary like Manet.
Cremon died at an early age Even
after his death Grubicy did not cease
his efforts to render honor to his
name. He organized an exhibition of
his works which was held in the foyer
of the La Scala theatre sat Milan and
with the proceeds erected a monument
to him in Brera. Cremona died in 1878.
1t was in this year that his patron
became interested in Segantini when
the artist was 20. Segantini was han
dicapped with the usual poverty that
attacks geniuses. He was married. an
other weight around his neck. Grub
icy bought not only his first painting.
but every product of his brush was
henceforth sold to the great benefactor
and this continued until the death of
the now famous diyisionist. No one
saw merit in the young divisionists S
work and the academy would not ac-
cept him. People called him the bold
lover of the Alps who has gone mad.
This stigma was flung at Grubicy as
well. His friends said he had been
struck with a serious brain sickness
but they suffered together the many
humiliating condemnations that are
often the lot of brave and undaunted
pioneers.
Grubicy's faith never lessened. He
continually advanced his protege money
and paid for his paintings on compile
ton. The fame OF Segantini is now
too we'll known to bear repeating
what is not generally known, however
is that his masterpiece, 1.-THE Two
Mothers brought about new salon
The Two Mothers was at that time
being exhibited in Vienna. At this pc
riod it was reckoned on a par with the
taboocd cubists of today. The progress
sives insisted that it was the most
marvellous canvas of our time. So heat
ed became the two factions over this
work that there was a big split among
the artists. The noise OF the warfare
reached the wide ears of the German
Emperor He made a personal investi-
cation and Grubcy was commander
to exhibit the much discussed paint
ing in Germany. 1t was the sensation
of the hour and its fame has been
lasting.
Among the men who have arrived
after many years of financial backin g
by this man who foresees genius is
Previati. the neglected MYSTIC OF
Lombardy. Previati took the bit of in
dependence in his mouth and would
not be driven by academicians. What
would have been his fate had it not
been for Grubicy is hard to conjecture.
Grubicy installed him in a comfortable
home, provided him with large atelier
and supplied the income. This con-
tinued for 20 years Now Previati's
genius is recognized by the public and
he no longer has TO lean on Grubicy
for aid. His paintings have been
bought by the museums at Brussels,
Munich and Vienna.
Fornara is another painter who was
made by Grubicy. Andreotti, the &C.
centric in sculpture, who is such a
favorite with the Parisians, was dug
up" by this benefactor. Bugotti. the
well known animal sculptor, was his
discoyerer.
A couple Of years ago Grubicy
eyed boy stood before the windows of
his Milan gallery. So regular became
these visits and so absorbed seemed
the youth that Grubicy went out and
asked him to see the paintings.
\ "You must be fond of pictures smil-
ingly said Grubicy.
"They are my life the boy answered
with such deep intensity that Grubicy
was somewhat startled.
what is your employment?'
Il am a cabinet maker"
"Would you like to become an
artist?"
II shall kill myself if I never do"
At the end of this dialouge Grubicy
disclosed his plans. The youth. who
was canon, was told that he be given
living wage for a certain period and
if he showed promise in his work he
would be carried along until his name
was made Fornara was painting in
the mountains and zaron was sent to
him to learn the rudiments of art. The
..discoverer" had found another ge-
MUS, only time and experience We're
needed to develop the talent.
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