Ida Barbarigo - Archivio Barbarigo Cadorin Music

Ida Barbarigo

TIMELINE

1920

ida paolo cadorin archivio barbarigo cadorin music — Ida in her mother Livia’s arms; with Guido and Paolo.

Ida Cadorin was born in Venice on 26 August into a family of artists, sculptors and architects, originally from the Cadore mountains.

One of my earliest memories – I must have been two or three years old – is the smell of Swiss pine shavings. On the top floor of the house in Fondamenta Briati, there were still carvers (…), the floor was covered in shavings (…). There was also grandfather Vincenzo, (…) he was a sculptor, he worked for Queen Margherita who came to visit him in his studio, and a lot for churches: he even made the throne for the pope’s jubilee. But he was not a clerically-minded. He used to say: ‘We are Christians but not bigots’. (…) Even though the workshop proper was closed in 1848 by my grandfather’s grandfather, Nicoletto, the tradition never died out. My great-grandfather Fabiano was a sculptor, with many assistants; my grandfather Vincenzo reopened the workshop, with his sons and helpers, first in San Stin, then in 1893 at the Carmini, on the fondamenta Briati. It was a big family, full of different characters, all talented.

The artist quoted by Laura Bossi, in Daniela Ferretti (ed.), La Bottega Cadorin. Una dinastia di artisti veneziani. Antiga edizioni, Crocetta del Montello, Treviso, 2016 pp. 39-40.

1942

archivio cadorin archivio barbarigo cadorin music — Ida Cadorin, *Operaie in Riposo*, 1942. Oil on panel 105 x 80 cm.

Although she was ‘born with a paintbrush in her hand’, the young artist initially chose the path of architecture, briefly attending the studio of her uncle Brenno del Giudice (1888-1957, an eminent Venetian architect), where she practised technical drawing. However, she soon abandoned this discipline and enrolled at the Accademia di Belle Arti in Venice in 1942. Here she attended courses held by her father, Guido Cadorin, and sculptor Arturo Martini. Following a competition for young artists, one of her paintings, Operaie in riposo (Workers at rest), was exhibited at the Venice Biennale.

1944 - 1946

opera cadorin archivio barbarigo cadorin music — Zoran Music portrayed by Ida: *Head of a Man*, 1946. Oil on panel 23.5 x 14.5 cm. The painting is signed ‘Cadorina’.

In 1944 she meets the painter Zoran Music. In 1946 she adopts the name ‘Cadorina’ as her nom d’artiste.

1947 - 1948

caffe zattera cadorin archivio barbarigo cadorin music — Caffè alle Zattere, 1947. Watercolour and pencil 43.5 x 58 cm.

Trips to Europe: Switzerland, where the encounter with modern art took place; France and the Netherlands, where museums were enriched with collections of modern works, still almost absent from Italian museums.

1949

fotografia cadorin archivio barbarigo cadorin music — Ida and Zoran on their wedding day.

Marriage with Zoran Music. For the occasion the two artists produce an etched announcement, engraved by the two of them.

1952

Ida and Zoran settle in Paris. They come into contact with, among others, artists Leon Gischia, Hans Hartung, Germaine Richier, Maria Helena Vieira de Silva and critics Jean Bouret, René de Solier, Pierre Francastel, Jack Lassaigne and Jean Leymarie. It was in these early Parisian years that the gallery owner Gildo Caputo suggested she choose a nom d’artiste.

People thought I chose the name Barbarigo because it sounds good, or because I put on airs. But it was the Galerie de France: they did not want me to take the name of my father who was a painter. There cannot be two painters with the same name… They told me, ‘Laissez nous faire!’ They chose it. (…) When I was exhibited for the first time at the Salon de Mai, with two innocent little paintings – but Helène Parmelin had put them next to a Picasso – I was so proud that if they had told me to sign ‘Tutankhamun’ I would have done it.

The artist quoted by Laura Bossi Régnier, in Daniela Ferretti (ed.), La Bottega Cadorin. Una dinastia di artisti veneziani. Antiga edizioni, Crocetta del Montello, Treviso, 2016 p. 55.

1955

ida opera cadorin archivio barbarigo cadorin music — *Construction (La ville)*, 1955, oil on canvas 50,5 x 65,5 cm.

She exhibits at the Salon de Mai, at which she will be assiduously present in the following years (in 1956, 1961, 1966, and in all editions from 1972 to 1980).

1957

disegno cadorin archivio barbarigo cadorin music — *Untitled* *(seggiole)*, 1957, india ink on paper.

She travels through Belgium, the Netherlands and to London. The bare coastal landscapes of the North Sea make a strong impression on the artist.

1958-1959

cadorin archivio barbarigo cadorin music — The artist in the Carmini studio, late 1950s.

Léon and Odile Degand put her in touch with Jacques Seletti, who opened a gallery in New York. Solo exhibition at the Seletti Gallery, New York.

1960

opera arte cadorin archivio barbarigo cadorin music — *Untitled*, 1960, oil on canvas 162 x 113 cm.

Solo exhibition at the Museum of Modern Art in Rijeka, Yugoslavia, curated by Boris Vizintin; the exhibition then moves on to Ljubljana and Zagreb in 1961.

1962

jeu ouvert cadorin archivio barbarigo cadorin music — *Jeu ouvert*, 1961, oil on canvas 146 x 97 cm. Tate Gallery, London.

Group exhibition curated by Giuseppe Marchiori in Cortina: ‘Sei pittori di Parigi: Barbarigo, Gischia, Music, Pignon, Pulga, Scialoja’.

1963

She participates in the 5th Biennale of Contemporary Printmaking, Venice.

1964

general dixi archivio barbarigo cadorin music — *General dixi: doman piovi*, 1964, oil on canvas 114 x 162 cm.

She participates in the exhibition entitled ‘6 Parisier Maler (Barbarigo, Bergman, Gischia, Hartung, Music, Pulga)’ at the Kunsthalle in Nuremberg. Solo exhibition at the Il Traghetto gallery in Venice, where she meets Lucio Fontana. An essay on the artist is published in the magazine ‘Quadrum’ No. 7, written by Umbro Apollonio.

1965

fotografia archivio barbarigo cadorin music — Zoran Music, Ida Barbarigo and Guido Cadorin with the painter Bruno Pulga.

Paris, solo exhibition at the Galerie Paul Facchetti. Her paintings are supported by a small circle of collectors and critics including Madame de Gavardie and Jean Bouret. Text by Marchiori in the magazine ‘Mardi-Samedi’ in June 1965. Silvio Branzi publishes a long essay on Ida Barbarigo’s work in ‘Art International’. Solo exhibition at the L’Elefante gallery (Mestre). Presentation in the catalogue by Nino Frank.

1966

uomo pietra archivio barbarigo cadorin music — L’*uomo di pietra*, 1967, oil on canvas 146 x 114 cm.

Basel, solo show at the Handshin gallery (text in the catalogue by Jean Bouret). The Commandeur (or The Stone Man) and Chaises-Arbres series begin.

1967

Group shows in Oslo (Holst Halvorsen Gallery) and Marseille (‘Pittori Italiani di Parigi’, at the Istituto Italiano).

1968

IB ZoranMusic Nurnberg — Zoran Music visiting the exhibition in Nuremberg. Behind Music, near the corner, the painting *Oh! Devo andare dalla pellicciaia*.

Solo exhibition at the Kunsthalle Nuremberg. The museum buys a portrait of Livia painted by Ida: Oh! Devo andare dalla pellicciaia; she wins a prize at the Menton Biennale for the triptych Histoires de Caïn.
Exhibition at Palazzo Chiericati in Vicenza (28 September – 28 October, organised in collaboration with the Kunsthalle Nuremberg). Text in the catalogue by Garibaldo Marussi. Lecture by Marco Valsecchi.She participates in the first International Biennale of Drawing in Rijeka.

1969

archivio barbarigo cadorin music — *Riso di Socrate*, 1969, oil on canvas 100 x 81 cm.

Ljubljana, Bien Biennale nial of Graphic Art at the Museum of Modern Art. Erik Estorik takes an interest in her work and becomes one of her main collectors. Start of collaboration with the Grosvenor Gallery in London with the participation in the exhibition ‘Season of Italian Art’. Solo show at the Galleria Bergamini (catalogue text: Marco Valsecchi). Series I ghe dixe Tartaruga and Riso di Socrate.

1970

giudici archivio barbarigo cadorin music — *I giudici*, 1970, oil on canvas 65 x 81 cm.

Solo exhibition in London, Grosvenor Gallery. Exhibition of Italian artists in France, travelling exhibition: Venice (Ala Napoleonica, Museo Correr), Milan, Legnano. Paris, Italian Institute: Selection 1970. Publisher Bruno Alfieri publishes a monograph in Italian and French on her work: Chaises et Voyeurs, by René de Solier. She begins working on the I Giudici, I misteri di Campo S. Margherita and Tiene cara de Leon series.

1971

A significant essay on her work is published by Barbara Wright in “Art Review” of 27 February 1971. Her work is displayed at the Galliera Museum in an exhibition organised by the National Museum of Modern Art: Peinture et Objets- Paris 1971. Solo exhibition at Galleria La Nuova Loggia (Bologna), text in the catalogue by Jacques Lassaigne.

1972

Retrospective in Paris, Musée d’Art Moderne de la Ville da Paris: Barbarigo peintures with works from 1964 to 1972. Jacques Lassaigne, the museum’s ‘Conservateur en Chef’, curates the exhibition and also writes a monograph dedicated to the artist, published in the ‘Musée de Poche’ series. Barbarigo participates in the Venice Biennale (in the graphic works section) and the Biennale of graphic works in Tokyo and Kyoto. His mother, Livia Tivoli, dies.

1974

Travelling exhibition at the museums of modern art in Linz and Vienna. Menton Biennale. Son cose che incantano / Jardins d’Orphée series begun.

1975

Solo show at the Fondazione Querini Stampalia, Venice. Text in catalogue by Jean Bouret.

1976

Solo show at the Galerie de France, Paris. Text in the catalogue by Giuseppe Mazzariol. Italian Cultural Institute, Copenhagen, then Stockholm. Catalogue text by Gertrude Sutton Köbke. On 18 August, her father Guido dies in Venice.

1977

Solo exhibition at the Italian Cultural Institute, Helsinki (text in the catalogue by Luciano Raimondi). Travelling exhibition: Alvar Aalto Museum, Jyväskylä (Finland), Kunstmuseum, Tönder Sönderjyllands. American collector Patti Cadby Birch starts collecting her works. She paints the first pictures of the Persecutori series.

1978

ida archivio barbarigo cadorin music — *Le persécuteur*, 1979, oil on canvas 105 x 87 cm.

She exhibits at the Venice Biennale in a dedicated room: I Persecutori, curated by Luigi Carluccio, who also writes the catalogue text.

1979

Solo exhibition at Galleria Il Traghetto, Venice. Text in the catalogue by Giuseppe Mazzariol. She begins the Fiori series (with titles such as Devenir Pivoine, Roses, Feuilles…etc.)

1980

Giuseppe Mazzariol writes the monograph “Fiori e Persecutori di Ida Barbarigo” (bilingual French and English edition, Patty Birch, New York 1980). Article by Jean Clair on the artist, published in the ‘NRF’. Beginning of the Autoritratti and Erme series.

1982

erma archivio barbarigo cadorin music — *Erma*, 1981, oil on canvas 162 x 130 cm.

She exhibits at the Haus der Kunst in Munich. Texts in the catalogue by Eric Steingräber and Jean Clair.

1983

Series of Nudi. Personal show at the Galleria Manus Presse, Stuttgart.

1985

La Città series.

1986-1988

atelier archivio barbarigo cadorin music — Some portraits of President Mitterrand in the painter’s Venetian studio, Palazzo Balbi (Photo Laziz Hamani, 2016).

The Spiagge series. Solo exhibition at the Kara Gallery, Geneva (1987). Text in the catalogue by Sylvio Acatos. The Presidency of the French Republic commissions a portrait of President Mitterrand, to be exhibited at the Elysée Palace.

The President always used to come to Venice, and slept here, in this room, which we now call the ‘President’s room’, with my father’s paintings. Sometimes he would come with Anne and Mazarine, sometimes he would bring some friends on holiday. And each time he would say to me: ‘Quelle chance vous avez d’être née à Venise’. And he would look askance at me. (…) Until the end he came to see us; he would stay here, resting; I heard him on the phone just before he left… (…) And I also had to paint his portrait. I don’t do portraits, I told him I couldn’t: ‘Monsieur le Président, je ne fais pas de portraits’. And he: ‘Essayez’. And I portrayed myself. Then he says to me: ‘Je vous l’ordonne! C’est une commande d’État’. It was hard to say no to him.

The artist quoted by Laura Bossi Régnier, in Daniela Ferretti (ed.), La Bottega Cadorin. Una dinastia di artisti veneziani. Antiga edizioni, Crocetta del Montello, Treviso, 2016 pp. 55-56.

1988

presidente archivio barbarigo cadorin music — *Le Président Mitterrand*, 1987, oil on canvas, 195 x 130 cm.

Exhibition at the Galerie des Amis des Arts, Neuchatel, presented by Sylvio Acatos. Exhibited at the Contini Gallery, Venice-Mestre. In March 1988 the magazine ‘Die Kunst’ in Munich publishes an editorial by Regina Löewe and an essay by Wolfgang Saurè. The same magazine publishes an interview by Regina Löewe and Wieland Schmied in September: Ritratto di un uomo di Stato.

1989-1990

santa apollonia archivio barbarigo cadorin music — Cover of the catalogue of the exhibition at the Museo Diocesano di S. Apollonia.

The Luoghi series begins. Il Parco – La Città series. The artist exhibits at the Museo d’Arte Moderna Rimoldi in Cortina d’Ampezzo; at the Museo Diocesano di S. Apollonia, Venice (catalogue texts by Paolo Rizzi, Gino Nebiolo, Alberto Fiz); at the Galleria Contini, Venice (‘Tancredi-Barbarigo 1950-1960’exhibition, text by Paolo Rizzi); at the Atelier Lambert gallery, Paris (‘Works on paper’exhibition, catalogue text by Jean Clair).

1991

She exhibits at the Krugier-Ditesheim Gallery, Geneva (text in catalogue: Jean Clair).

1992-1993

autoritratti archivio barbarigo cadorin music — Ida Barbarigo photographed in the studio of Palazzo Balbi among the self-portraits (photo Claudio Franzini).

Series of self-portraits: Egiziaca, Teste minacciose…

1994

Vallois Gallery, Paris, text in catalogue by Philippe Carteron. The same gallery presents the exhibition at the Salon de Mars. Series of Sfingi (Sphinxes).

1995

Solo room at the Biennale del Centenario, curated by Jean Clair.

1996-1997

Solo shows in Neuchâtel (Galleria Ditesheim), Venice and Cortina (Galleria Contini): she exhibits I Volti, texts in the catalogue by Paolo Levi and Michael Peppiat. Article by Sebastiano Grasso in the Corriere della Sera of 2 February 1997.

1998

venezia archivio barbarigo cadorin music — View of the ‘Alle Zattere 1962-1976’ exhibition at the Magazzini del Sale.

Galleria Maggiore, Bologna: ‘La Cerchia di Saturno’ exhibition, text in catalogue by Marilena Pasquali. Exhibition at Magazzini del Sale, Venice (Ikona Gallery): Alle Zattere 1962-1976. Catalogue text by Giuseppina Dal Canton. Italarte Gallery, Rome. Essay by Rossana Bossaglia. Article by Giorgio Soavi in “Corriere della Sera” of 19 October 1998. Article by Pietro Sanavio in “Liberazione”.

1999

Ikona Gallery, Magazzini del Sale, Venice: ‘La cerchia di Saturno e la dimora di Dioniso’. Catalogue text by Riccardo Held.

2000

Solo show at BBK Foundation, Bilbao. Catalogue text by Kosme de Barañano.

2001

Ikona Gallery, Magazzini del Sale, Venice: ‘Guardando, guardando’. Catalogue text by Luca Massimo Barbero.

2002

Solo exhibition at Palazzo Te, Mantua: ‘Ida Cadorin Barbarigo. Opere recenti’, curated by Živa Kraus. Text in catalogue by Jill Lloyd. Paris, Albert Benamou Gallery: ‘Peintures 1978-2002’. Catalogue text by Jean Clair. Beginning of the Terrestri series (until 2007).

These mammals of the Terrestrials, invading my home, I don’t know what they are, where they come from. Tthey were born a bit in bulk, people coming in and out of the paper, in halves, oil paintings on paper. There was no way to stop them. But I can’t explain them. I am just an instrument, me, the plant that produces these Earthlings. As if they were tomatoes.

The artist quoted by Marco Vallora, in Daniela Ferretti (ed.), La Bottega Cadorin. Una dinastia di artisti veneziani. Antiga edizioni, Crocetta del Montello, Treviso, 2016 p. 284.

2004

Solo exhibition at the Galleria Contini (April-May): ‘Ida Barbarigo Cadorin. I Terrestri’. Retrospective at the Museum of Modern Art in Valencia (IVAM), curated by Kosme de Barañano (November-January 2005). Catalogue texts by Kosme de Barañano, Jean Clair, Sabine Schulze; interview with the artist by Michael Peppiatt.

2005

Zoran Music dies at the age of 96.

2006

‘Ida Barbarigo. I Terrestri’ exhibition at Palazzo Fortuny, Venice. Texts by Giandomenico Romanelli, Silvio Fuso, Jean Clair, Kosme de Barañano, Giovanna Dal Bon.

2009

Several of her works are exhibited at In-finitum, curated by Daniela Ferretti, Francesco Poli and Axel Vervoordt at Palazzo Fortuny (Venice).

2011

Book (and exhibition at the Estorick Collection, London): ‘Double Portrait. Ida Barbarigo – Zoran Music’ curated by Giovanna Dal Bon. Exhibited at Palazzo Fortuny in the exhibition ‘TRA’, curated by Daniela Ferretti, Rosa Martinez, Francesco Poli and Axel Vervoordt. Towards the end of the year, she starts a new series, which will occupy her over the next two years: Unità nel Profondo.

2015

One of her solo exhibitions is part of the ‘Winter at Palazzo Fortuny’ programme: ‘Ida Barbarigo. Erme e Saturni’ curated by Daniela Ferretti, catalogue with text by Luca Massimo Barbero.

2016

Opening on 26 November of the ‘La bottega Cadorin. Una dinastia di artisti veneziani’ exhibition, curated by Jean Clair. The painter’s works are exhibited alongside those of her grandfather, Vincenzo Cadorin, her father Guido, her uncles Ettore and Romeo, her mother, Livia Tivoli Cadorin and her maternal grandfather Augusto Tivoli. In the catalogue, the text on the artist is by Marco Vallora.

2018

On 15 January, she dies in his Venetian home, Palazzo Balbi.

Dad used to tell us: ‘Above all, don’t be an artist, it’s a terrible thing!’ (…). I went to middle school and classical high school, and I never dared to think of being a painter. To be a painter, you have to be number one. (…) One day I went to a place where there was nothing, just the sea, nothing, and I said to myself, now I must decide, and I drew a picture. Although I was very young, I said to myself, there is something, there is something. And I never stopped. I didn’t know I was going to be a painter, I painted like someone who scratches his head, or sneezes, he doesn’t think he is the master of sneezing, it’s not his job to sneeze, but he sneezes. I thought it was a great claim to be a painter. I didn’t think I had any talent, it was natural, I thought I was struggling and instead the paintings just came out of me… they came by themselves and one has no merit. (…) I have been painting all my life. I haven’t lived. But at least I have done the paintings.

The artist quoted by Laura Bossi Régnier, in Daniela Ferretti (ed.), La Bottega Cadorin. Una dinastia di artisti veneziani. Antiga edizioni, Crocetta del Montello, Treviso, 2016 pp. 52-53.