Uberto Dell'Orto (1848–1895) - Paesaggio - NO RESERVE

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

(spedizioni fuori dalla comunità europea le tempistiche variano dai 15 -20g lavorativi per la documentazione di esportazione. Eventuali dazi e tasse doganali sono a carico dell' acquirente )

Uberto Dell’Orto began painting under Giovan Battista Lelli at the Brera Gymnasium, alongside his mathematics studies he pursued landscape painting, which he practiced from life during study stays in Valtellina in the company of his friend Sallustio Fornara.
After travelling to Capri in 1873, where he absorbed the luminous chromaticism of southern artists such as Giuseppe Carelli and Achille Vertunni, he began frequenting in Milan the studio of Eleuterio Pagliano, appearing on the exhibition scene with works such as Una spiaggia di Capri, shown at the Braidense exhibition of 1874, today in a private collection.
In 1880 he opened a studio in Milan and worked there diligently, dedicating himself mainly to landscape and portrait, using a more refined and accurate technique, surely more appreciated by his patrons; only in some works is there less attention to likeness and to the details of clothing and surroundings, and a slight echo of the works of Ranzoni and Cremona.

Towards the end of the eighth decade the artist's first stays in Liguria are dated, an experience of which a trace remains, after Una moria a Bordighera (private collection) appeared at the Braidense exhibition of 1879 and was re-presented at the national one in Rome in 1883, in two other submissions to the Braidense appointments in 1882 and 1884; between 1881 and 1882, finally, there is a trip to Egypt in the company of his friend Fornara and Pompeo Mariani with whom he often stayed in Bordighera.

Sensitive to the influence of Filippo Carcano, the artist was meanwhile maturing a propensity toward balanced and robust landscape painting, establishing himself as one of the most effective interpreters of Lombard Realism of the late nineteenth century.

Thanks to this passionate analysis of the truth and to the tenacious, repeated attempts to express on canvas the sensations that such observation provoked in him, although not reaching the tonal decomposition of the Impressionists or solutions close to those of the early Lombard Divisionists, he managed to render his painting rich in luminous vibrations, simplifying volumes and greatly reducing chiaroscuro effects.