Gola Emilio, Seascape at Capo Mele – Seascape – Seascape at Alassio
FCIP 0074.jpg
works associated

1,918; oil on canvas
cm. 80 x 124,5
Signed bottom right: “E. Gola 1918”; on the stretcher, top left: adhesive label with felt-tip pen inscription “Sig. Giani Gobbi/Milano”; damaged label with stamp: “Soc. B. A. Permanente Milano”; stamp: “Emilio Gola mostra celebrativa Febbraio-Aprile 1956 – palazzo della Permanente”; on the back of the canvas, paper label: “GALLERIA PESARO”; stamp: “Emilio Gola – Società Belle Arti Permanente” “Mary Gobbi”; label: “Aspetti del naturalismo lombardo”.
Inventory: FCIP 0074
Provenance: Milan, Piero Gobbi Collection (in 1920); Milan, Gianni Gobbi Collection (in 1956); Finarte, Auction 726, Milan, 23 March 1990
Exibition: 1920, Milano, n. 32; 1956, Milano, n. 49; 1975, Lecco, s. n.; 1989, Milano, Palazzo Reale, n. 104; 1999, Genova, n. 50

This work entered the Cariplo Collection in 1990, after being purchased on the antique market. Executed in 1918, it was featured in the important solo exhibition devoted to Gola at the Galleria Pesaro in Milan in 1920, as attested by one of the labels on the back of the canvas. In the exhibition catalogue of the works on display there is a Seascape at Capo Mele, then owned by Piero Gobbi, one of the foremost collectors of Emilio Gola’s works and commissioner of several portraits from him. The work in the Cariplo Collection may actually be the Gobbi painting, since the place represented is the rocky promontory of Capo Mele, near Alassio in the western part of the Province of Savona. Highly acclaimed at exhibitions, the canvas was looked on as a key work in the artistic career of Gola who, between 1915 and 1918, devoted himself to landscape painting during his long summer vacations in Liguria, where he executed a series of coastal scenes that were painted from life and explored the various atmospheric conditions through a spare and absolutely modern facture. In this painting the peninsula, lit from behind, juts out into the open sea and delimits the wide beach with only three solitary figures at the water’s edge, beneath a changing sky with scudding clouds. Broad, short brushstrokes alternated with thick impasto applied with a palette knife, are laid over thin glazes to create the effects of sunset. The meditative atmosphere of the practically deserted beach links this work to the series of desolate Grey Seascapes and to the cycle Wind and Sea, executed on the Ligurian coast during the same period. Concomitant with the birth of the tourist industry, Gola also depicted sunny beaches populated by carefree bathers, such as On the Beach at Alassio in the Cariplo Collection. The artist displayed works of the same subject at the National Exhibition in Turin in 1919, namely Beach at Alassio – Sun, Beach at Alassio Wind and the watercolour Bathers, which were an extraordinary success with public and critics alike. Beach at Alassio, Repose and Beneath the Trees were equally successful at the Esposizione Internazionale d’Arte della Città di Venezia the following year.

Sources:Archivio Storico Intesa Sanpaolo, Patrimonio archivistico Cariplo, Opere d’arte. Atti d’acquisto ex Cariplo. Fald. 2/3, pratica n. 879 R/830


Mostra individuale di Emilio Gola, Milano, Galleria Pesaro, aprile 1920, presentazione Renato Simoni, Galleria Pesaro, Milano, 1920, p. 13, n. 32;
Giorgio Nicodemi, Emilio Gola, in Remo Taccani, a cura di, Emilio Gola, 1851-1923. Mostra celebrativa, Milano, Palazzo della Permanente, marzo-aprile 1956, Edizioni della Permanente, Milano, 1956, p. 35, ill. p. 106, tav. 49;
Aspetti del naturalismo lombardo da Gola a Morlotti, catalogo della mostra a cura di Gian Alberto Dell’Acqua, Giorgio Mascherpa, Marco Valsecchi, Lecco, Villa Manzoni, 27 settembre - 30 ottobre 1975, Grafiche Stefanoni, Lecco, 1975, s. n.;
Nicoletta Colombo, Emilio Gola. Marina di Alassio, in Raffaele De Grada, a cura di, Emilio Gola, catalogo della mostra, Milano, Palazzo Reale 1989, s.e., Milano, 1989, n. 104, p. 131, ill. (come Marina, datata 1919, datazione errata);
Dipinti del XIX secolo, Asta 726, Finarte, Milano, 1990, n. 67, pp. 80-81;
Anna Caterina Bellati, Emilio Gola. L'uomo e l'opera, Bolis, Bergamo, 1994, p. 194, ill. n. 35, p. 124 (come Marina);
Lucia Pini, Emilio Gola, Marina di Alassio, in Giovanna Ginex - Sergio Rebora, a cura di, Scoperta del Mare. Pittori lombardi in Liguria tra '800 e '900, catalogo della mostra, Genova, Palazzo Ducale, 9 luglio – 24 ottobre 1999, Mazzotta, Milano, 1999, n. 50, p. 225, ill.;
Sergio Rebora, Emilio Gola, Marina di Alassio, in Sergio Rebora, a cura di, Le collezioni d’arte. L’Ottocento, Fondazione Cassa di Risparmio delle Provincie Lombarde, Milano, 1999, n. 111, p. 192, ill.

Elena Lissoni
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