Uberto Dell'Orto (1848–1895) - Paesaggio

Uberto Dell'Orto (Milan, January 6, 1848 – Milan, November 29, 1895) landscapes 3 provenance: Il Ponte auction house, Milan


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Uberto Dell’Orto began painting under Giovan Battista Lelli at the Ginnasio di Brera. Alongside his studies in mathematics, he practiced landscape painting, working from life during study stays in Valtellina with his friend Sallustio Fornara.
After visiting Capri in 1873, where he absorbed the luminous chromaticism of southern artists like Giuseppe Carelli and Achille Vertunni, he began to frequent the studio of Eleuterio Pagliano in Milan, appearing on the exhibition scene with works such as A Beach in Capri, which was shown at the Braidense exhibition of 1874 and is now in a private collection.
In 1880, he opened a studio in Milan, where he worked diligently, mainly focusing on landscape and portrait. He used a more refined and accurate technique, certainly more appreciated by his clients; only in some works is there a slight lessening of attention to likeness and to the details of clothing and environment, along with a faint echo of the works of Ranzoni and Cremona.
By the end of the eighth decade, the artist's first stays in Liguria are also dated, an experience of which a record remains, after 'Una moria a Bordighera' (private collection) appeared at the Braidense exhibition of 1879 and was reintroduced at the national exhibition in Rome in 1883, in two other submissions to the Braidense events in 1882 and 1884. Between 1881 and 1882, a trip to Egypt with his friend Fornara and Pompeo Mariani took place, during which he often stayed in Bordighera.
Sensitive to the influence of Filippo Carcano, the artist was meanwhile developing a propensity for balanced and robust landscape painting, establishing himself as one of the most effective interpreters of Lombard realism in the second nineteenth century.
Thanks to his passionate analysis of the true and his persistent and repeated attempts to express on the canvas the sensations that observation provoked in him, although he did not reach the decomposition of tones typical of the impressionists or solutions close to those of the early Lombard divisionists, he managed to make his painting rich in luminous vibrations, simplifying volumes and greatly reducing chiaroscuro effects.