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Noè Bordignon
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Noè Bordignon
Noè Bordignon
After training in Venice with C.Blaas won the retired Roman where absorbed the lesson of purism derived from the Nazarenes. Here also learned what was considered the true hallmark of the Roman language: the fresco technique. Advanced as in Florence came to the experiences of the Tuscans realistic without being too convincing.
Parallel to his intense activity as a decorator fresco moved to Venice, opening a studio in Ca ‘Rezzonico, and specializing in the genre scene inspired by the popular Venetian life with a palette of bright colors in the wake of G.Favretto.
The success began to wane with the end of the century: The pappa al fogo and Interior of the church of the Frari are rejected at the Venice Biennale of 1895. the next award of the two works in Paris and Liverpool respectively testifies to the high level of quality achieved by the painter.
Among the works sent to the exhibitions include: Santa Maria del Popolo, Santa Prassede in Roma, Fanciulla sulle rive del Sile, Alla fontana, Sui colli tuscolani, Tomba di Vittorio Emanuele II al Pantheon, Donna nella chiesa d’Aracoeli, Fanciulle che cantano nella valle, Per la cresima, Un cortile in Venezia, Lucrezia degli Obizzi, La pace dei monti, Una modella, Due compaesani di Canova, Prime carezze, Senza sapere, Buco nuovo, Tanti tacconi, Un’ora di riposo, La matassa, Ragazza in chiesa, Intanto il Pater noster, Scarpette nuove, Fiori e dolci parole.
