Born in Quinzano d’Oglio February 19, 1879 (and not in Rome in 1884 as reported by many biographers), Hyacinth Bardetti moved to Brescia at the age of thirteen to pursue his artistic training at the Municipal School of Art and Design for Crafts entitled to Moretto. We followed the courses of the painter Arturo Castellani and then obtain from the director of the Civic Museums, Luigi Stork, a study in the University building where devote himself to sculpture. It was there that created a work of colossal dimensions entitled Matter, now lost, of which the largest criminal Brescia Hercules Parodi had a reduction.
According to the same source, misery and mourning the death of his mother encouraged him to move to Rome during the first decade of the twentieth century, an unknown date. In the capital attended the free school of the Institute of Fine Arts, initially without the possibility of its own studioi. He went then, a little later, in the workshop of the sculptor Angelo Zanelli, where is documented since 1908.
He participated without luck at the competition for the realization of the “statues of the provinces that were to be redeemed placed the rump of the horse of Vittorio Emanuele” at the Vittoriano II; contest in which, reported Piero shoe, he distinguished sharply. Concurred in 1909, still no luck, the Retired Brozzoni – the pensioner banned from the Civic three-year University of Brescia on the legacy of Camillo Brozzoni – with the painter Umberto Franciosi, who performed several ritratti.
In the same year, however, Zanelli won the competition for the lower base of the equestrian statue of Vittorio Emanuele II at the Vittoriano, the yard most prestigious of Italy about to celebrate the fiftieth anniversary of the kingdom, calling his collaborators execution of the frieze.
Between 1910 and 1911 he worked Bardetti execution and implementation of large reliefs in plaster forming the frieze depicting love of country and the triumphal processions of Labour. Work began on July 1 and ended on November 30, 1910, proceeded expeditiously and the official inauguration of the Vittoriano, June 5, 1911, the frieze was already in place.
A group photograph of that year published “La Tribuna” portrays Bardetti and other workers gathered around the frieze Zanelli in the gigantic construction site of the Victorian public outside the Porta Maggiore.
The artist is the second from the left, with a mustache and hat on his head, senz’ancora the pointed beard that would later indelibly marked its appearance in the yard was directed by Zanelli that, in 1910, he was encountered by Gabriele D’Annunzio: the poet began to support him financially to commission some later works for the Vittoriale.
The inclusion in the milieu d’Annunzio was consecrated in 1915, the debut exhibition Bardetti the Third International Art Exhibition of the Secession Roman with the work, now lost, Motherly love. Friend of many artists of the time, was portrayed several times dall’anconetano Pullini Pio, who remembered him as a companion of discussions and walks Trilussa.
A young Publius Morbiducci, which came in 1915 in the ranks of employees Zanelli, portrayed him full length in 1920. These portraits, as well as a photograph of the artist published in 1924, highlighting the “figure doornail” of Bardetti and the “face framed by a goatee Franciscan [that] it closer to the typical characters doomed to loneliness and to the special care of ‘ soul “or the” philosophers of the mind spacious, bright and the skull-rimmed glasses from places with solemn importance on the rump of thin and slightly hooked nose like a beak, a classic memory “, giving the appearance of” a spiritual artist. “. Text by Alessandra Imbellone.