student of Ettore Tito Accademia di Belle Arti in Venice, where he had been writing since 1903, the Venetian Alessandro Pomi begins early in the national landscape exhibition of exhibitions Ca 'Pesaro since 1910, but soon found important to mention criticism during his appearance at the First International Exhibition of Valle Giulia in Rome in 1911 (where the notice Vittorio Pica) and the following year the international limelight as the Venice Biennale, with the Test debut reported in the press by Hugh Ojetti, Gino Damerini and Louis Coletti (in 1914 instead expose the malicious Divettes, near the modern Bacchanal shown at Ca 'Pesaro in 1911 and performing in Joseph Zancolla Bohème). In the first pre-war, when placing his decorations for theater and cinema Toniolo Mestre Excelsior, there are also opportunities for young Pomi comparison with central European crossroads Munich reality ruled by Franz von Stuck, where Edmund Matter was passed as early as 1913 he was present at the exposure of Glaspalast, while during the years of conflict will join with my friend Gigi De Giudici to projects sponsored by Venetian artists of the Hotel Victoria Show Bonvecchiati and, in addition to actions to support the needs of nations battles launched by the Red Cross.
In a sign of revival of artistic activity of Ca 'Pesaro in the First World War and the rebirth of the Club Venetian artist moves the fruitful work of Alessandro Pomi, which the soul with Hilary Blacks partnership of Venetian painters and became a constant figure at exhibitions held in cities and different provinces Veneto, between Padova, Treviso, Vicenza and Verona, where he will likely way to get in touch with Lionel Rivers. When you start the rest of the twenties is its strong present at the Venice Biennale, where there were major sales - such as those intimate Vespers at the Museum of Tokyo in 1922 - and ready agreement has been given also by the foreign press (especially "The Studio" August 1924), while in the halls you could see paintings like The experiment, with the assembly of the three chemicals in severe white facing in consonance with the surgeons and Dr. Ubaldo Oppi Zancolla Del Nero. If parallel Pomi continued to play with great ease decorative themes for the Hotel Danieli in Venice and the rebuilt City Hall Asiago, è comunque in questo contesto che viene a concretizzarsi il suo impegno nell'arte sacra, allorquando egli parteciperà alla Mostra Nazionale, per cui disegnerà pure il manifesto, svolta in Palazzo Reale sotto l'egida dei fratelli Celso e Giovanni Costantini, mentre tra la primavera e l'estate del 1925 farà parte della giuria di accettazione dell'Esposizione d'Arte dei Combattenti delle Tre Venezie.
Al di là della ribalta europea Pomi non trascura quella americana e tra il 1924 e il 1936 esporrà con costanza e successo non solo agli annuali appuntamenti di Pittsburgh - dove ottiene nel 1931, anno in cui comparirà anche Cenacolo e che vedrà il pittore pure alla Prima Quadriennale di Roma, il premio popolare con Susanna -, But in Philadelphia, St. Louis, Baltimore and Toledo. The Gardens of the Biennale for another seven times during the thirties and forties and important initiatives promoted by the regime, such as Nobel Cremona, strengthens the fortune of the Venetian tradition of painting themes of the lagoon, which the Italian critics and American will continue to anchor it, already recognized by Michele Biancale the staff at the Galleria Pesaro in Milan in 1928. On his preference for the portrait and figure, so the companion Hilary Blacks showed a firm appreciation, join the studio interiors with figures silent shadows and domestic routes from the sea, with boats wedged against a sky dazzled since the end of the Twenties make their way models exotic travel in Africa and the transition on the banks of the Tagus. If you
particularly between the wars that his personality does not lose its polish, with the pictures shown to the personal reviews occurred after the Second World War (though the 1948 is the last step in the Venice Biennale, had just shown in Milan and Trieste ) remains an enduring commercial success and takes his body far more contemplative, measured in the self-portraits, often in the most sacred subjects (paintings in Trentino and Lombardy, Vittorio Veneto, and Spresiano Cordenons), those in the music and still lifes, developed largely in connection with a chronologically extended beyond the early sixties, in the capital lagoon Alessandro Pomi will compete, like what he had done Alessandro Milesi, the effigies of the churchmen and retract Roncalli. Stefano
Franzo
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