Italian
A retrospective exhibition pays tribute to the painter in Mestre
MESTRE (VE) – On September 28, at the Santa Maria delle Grazie Cultural Center in Mestre, the opening lecture of the exhibition dedicated to the Venetian painter and writer Ernani Costantini took place at 6 PM. As Massimo Cacciari recalled, Costantini was an independent artist, “but in active dialogue both with the Venetian tradition and with the great masters of the twentieth century.”
The event was introduced by Pier Giorgio Baroldi, president of the “Paolo Rizzi” association, dedicated to the journalist of Il Gazzettino and art critic who followed many Venetian artists throughout their careers and also promotes the Rizzi Prize for art, culture, and society, which this year will be hosted on October 24 at the prestigious Scuola di San Rocco in Venice.
Debora Oristo, president of Mestre’s cultural commission, then spoke, highlighting that Ernani’s work is not only dedicated to Venetian views but also to sacred art.
She encouraged visitors to go beyond merely observing the canvases, but to engage with the artworks, exploring the emotions they evoke.
Then it was the turn of art critic Marco Dolfin, who, in addition to contributing his critical texts to the exhibition catalog, is the curator of the show.
His aim was partly to rediscover the artist, especially regarding his early works. Ernani was born in Venice in 1922 and was immersed in the beauty of painters such as Tintoretto, Titian, and Cima da Conegliano. He then studied at the Scuola d’Arte dei Carmini in Venice, with Ercole Sibellato as his painting teacher and Mario Disertori for drawing.
Among the paintings Marco Dolfin presented, special attention must be given to “Raffigurazioni Veneziane”, a painting never exhibited before, rediscovered on the antique market, showing a rapid brushstroke that seems unstoppable. From figurative works, we move to “Cantone del Tesoro”, depicting a section of the wall next to the Porta della Carta in Piazza San Marco. Moments of experimentation can be seen in “Gondole nel Bacino Orseolo”. There is also a small painting titled “Fuochi d’artificio a San Marco”, reminiscent of Ippolito Caffi’s memorable painting “Festa Notturna di San Marco”. With “Rivelazione 63”, Costantini began his sacred art production, spanning both traditional and experimental approaches, even reinterpreting the theme.
Finally, Cristiano Costantini, the artist’s son, spoke about his father as an artist. He first explained the reason for this exhibition. Since many of his father’s sacred works are in churches, he wanted to make them known, such as the “Volto Sacro” in Lucca.
He also wanted these works to dialogue with the Venetian landscapes, for which his father is better known. But most importantly, Cristiano emphasized that his father’s works convey that, beyond the sacred theme, life itself is sacred, and his art was a service, a gift of love. He often quoted St. Augustine’s famous phrase: “Love and do what you will.”
Cristiano also mentioned that Ernani produced a large body of writings, mostly of philosophical inspiration, particularly in the post-conciliar period.
He recalled that in the post-war crisis, his father worked initially as a “scenery worker” for Scalera Film at the Giudecca studios. In 1949 he won a competition to teach in middle schools, receiving his first assignment in Vittorio Veneto. Three years later, he obtained a chair in Padua and later chose to return to live in Venice, where he eventually secured a permanent teaching position.
Regarding his father’s painting, Cristiano notes that the Venetian views are figurative and immediately understandable, yet they evoke serenity in the viewer’s gaze. As for sacred art, his works offer meditation on a single theme.
It is also worth noting that in Venice, Ernani came into contact with the artistic ferment of the 1950s and became an active member of the UCAI (Unione Cattolica Artisti Italiani). In the 1970s, he preferred to leave teaching to dedicate himself entirely to art: painting, writing, and—once president of the local UCAI section—organizing exhibitions of Venetian masters from the 19th and 20th centuries.
The visit then continued at the Laurentianum exhibition, where the excellent thematic layout allowed visitors to appreciate Ernani Costantini’s artistic journey. Visitors could also enjoy a special feature: listening to music by Brahms and Chopin, which the artist often listened to while painting.
This is an exhibition well worth visiting, to be moved and to rediscover, in the depicted places, the spirit with which the artist painted them.
