Virgilio Guidi
Art is silent poetry, but you can almost hear it speak in this room. It slides out of the paintings and into the steam room, caresses the traditional furniture and permeates the room. To double the pleasure, indulge in our culinary art while comfortably sitting next to a romantic night view. All you need to do is ask…
- Steam room
- Private balcony with view of Col Rodella
- High-quality mattresses
- Minibar and safe
- Multilingual Smart TV
- Wooden flooring
- Selection of fresh fruit upon arrival
- Pillow menu with a variety of pillows to choose from
- Soft blanket
- Premium courtesy line with natural high-end products
- Kettle with a selection of herbal teas, tea, and coffee
- Comfortable bathrobes, towels, sauna towels, and slippers
- High-speed fiber-optic Wi-Fi connection
- Housekeeping service - twice-daily
- Comfortable shoehorn with brush
- Umbrella
- Mattress topper
- Choice of duvet and full bed setup
- Fabric laundry bag
- Two Montura merino wool blankets
- In-room temperature control
Virgilio Guidi
His passion for geometry and drawing led him at a young age to attend both courses of the Technical Institute and those held at the Free School of Painting in Rome.
In 1908 he abandoned the Technical Institute, he learned the painting practice at the workshop of the Capranesi decorator where he remained for almost three years as his first assistant.
He then enrolled in the Academy of Fine Arts, in Rome, also studying on his own the great Italian masters including Giotto, Correggio, Piero della Francesca and the French Courbet and Chardin. The beginning of a reflection on the importance of light in his paintings dates back to this period.
In 1913 he exhibited his first paintings and won the Lana academic competition.
The following year he had the opportunity to examine Matisse and Cezanne artworks; he especially studied the Cezanne shape-color.
For economic reasons, in 1916 he worked for a couple of years as a draftsman at the engineering department of Rome.
His most important figurative works dates back to the early twenties; in 1922 he exhibited at the Venice Biennale and began to have a certain commercial success. His Tram, now exhibited at the Gallery of Modern Art in Rome, achieved resounding success at the Biennale in 1924.
In 1927 he married the sculptor Adriana Bernardi and taught painting at the Academy of Fine Arts in Venice where he took part again in the Biennale and in 1928 and presented his important text La Giudecca.
He continued to write and publish thoughts on his pictorial research, exhibited in Florence and again at the Venice Biennale which he left for Bologna in 1935 where he taught at the Academy of Fine Arts.
His first monograph was published in New York and the Bulletin of Art in Bologna in 1937. In this period he elaborated the anti-naturalist symbolism of synthesism.
During the Second World War he began to compose poem verses which he will publish only at the end of the 1950s and he did not stop to write about art; in the postwar period he also dedicated himself to graphics with a series of lithographs.
He exhibited again at the Venice Biennale where he now has a personal room, participated in the spatial movement of Lucio Fontana and in the Twentieth-Century Italian Art.
The thematic cycles, which have always been the basis of Guidi painting research, were recurring during the 1950s and early 1960s: Angoscia, Figure nello spazio, Marine,Teste, Marine,Architetture umane, Riflessioni del tempo, Tumulti, Architetture Cosmiche. Later, other cycles will be dedicated to the all’Albero, Figure Agitate, Figure Inquiete, Branco da branco, l’Uomo e il Cielo.
In the field of poetry he published the collection La Ragione di Essere in 1967, l’Età Improbabile in 1979 and, in collaboration with the painter Roberto Colombo, Shambariben.
Venice celebrated him at the Cini Foundation for his ninety years, he was still very active until his death which happened during an exhibition of his latest works at the Il Traghetto Gallery.
His remains rest in the monumental cemetery of San Michele, an island in the Venetian lagoon.
Virgilio Guidi
His passion for geometry and drawing led him at a young age to attend both courses of the Technical Institute and those held at the Free School of Painting in Rome.
In 1908 he abandoned the Technical Institute, he learned the painting practice at the workshop of the Capranesi decorator where he remained for almost three years as his first assistant.
He then enrolled in the Academy of Fine Arts, in Rome, also studying on his own the great Italian masters including Giotto, Correggio, Piero della Francesca and the French Courbet and Chardin. The beginning of a reflection on the importance of light in his paintings dates back to this period.
In 1913 he exhibited his first paintings and won the Lana academic competition.
The following year he had the opportunity to examine Matisse and Cezanne artworks; he especially studied the Cezanne shape-color.
For economic reasons, in 1916 he worked for a couple of years as a draftsman at the engineering department of Rome.
His most important figurative works dates back to the early twenties; in 1922 he exhibited at the Venice Biennale and began to have a certain commercial success. His Tram, now exhibited at the Gallery of Modern Art in Rome, achieved resounding success at the Biennale in 1924.
In 1927 he married the sculptor Adriana Bernardi and taught painting at the Academy of Fine Arts in Venice where he took part again in the Biennale and in 1928 and presented his important text La Giudecca.
He continued to write and publish thoughts on his pictorial research, exhibited in Florence and again at the Venice Biennale which he left for Bologna in 1935 where he taught at the Academy of Fine Arts.
His first monograph was published in New York and the Bulletin of Art in Bologna in 1937. In this period he elaborated the anti-naturalist symbolism of synthesism.
During the Second World War he began to compose poem verses which he will publish only at the end of the 1950s and he did not stop to write about art; in the postwar period he also dedicated himself to graphics with a series of lithographs.
He exhibited again at the Venice Biennale where he now has a personal room, participated in the spatial movement of Lucio Fontana and in the Twentieth-Century Italian Art.
The thematic cycles, which have always been the basis of Guidi painting research, were recurring during the 1950s and early 1960s: Angoscia, Figure nello spazio, Marine,Teste, Marine,Architetture umane, Riflessioni del tempo, Tumulti, Architetture Cosmiche. Later, other cycles will be dedicated to the all’Albero, Figure Agitate, Figure Inquiete, Branco da branco, l’Uomo e il Cielo.
In the field of poetry he published the collection La Ragione di Essere in 1967, l’Età Improbabile in 1979 and, in collaboration with the painter Roberto Colombo, Shambariben.
Venice celebrated him at the Cini Foundation for his ninety years, he was still very active until his death which happened during an exhibition of his latest works at the Il Traghetto Gallery.
His remains rest in the monumental cemetery of San Michele, an island in the Venetian lagoon.
