In 1949 the sisters Charlotte e Nelly Dornacher asked the painter to decorate the basement of their villa in Zollikon near Zurich.
The room subsequently fell into disuse. The progressive decay of'environment made it necessary to remove and restore the individual elements that made up this'work d'total and immersive art.
Paul CadorinMušič's brother-in-law, and at the time director of the restoration department of the Kunstmuseum Basel, he strivesò to recreate the'unità dell'works by following the transfer of the fragments onto panels of light and easily repositionable material. THE'Cadorin's intervention was not limitedò al canvas recovery but curò reproduction of furniture and objects like the tablecloth painted by'artist himself.
Ciò which we can now admire in the spaces of Palazzo Fortuny è a reconstruction of the room with the original paintings. L'lighting è designed to reflect that of the past thanks to Japanese paper lamps equipped with adjustable dimmers. Every detail è designed to preserve it'authentic atmosphere.
L'work encloses the'entire iconography of the painter from the little horses and donkeys to the Dalmatian motifs. The room è surrounded by a selection of works created by the artist between 1947 and 1953from private collections and from'Music archive. The itinerary is completed by some shots of landscapes taken by'artist and the photographic reproductions of other authors who immortalized variable moments in the painter's life.
Music was born of Gorizia Austro-Hungarian dthe 1909, fson of a kingdom il whose hymn was sung in eleven languages became Italian only in 1918 and passedò his youth between Austria, Dalmatia and Slovenia.
The return to Venice after the war, after the years of imprisonment in the Dachau concentration camp, markedò a return to life and all'Love. It was here that Music met againò Ida Barbarigo, daughter of'artist Guido Cadorin, painter with whom you livese study and with whom he fell in loveò staying with him for the rest of his life.
In Venice Music foundò l'east el'West "intimately fused". This dualityà biographical and artistic finds today on display at Palazzo Fortuny neThe gold ocher dethe watercolors venetiani, in the gray-green of the mountainous landscapes, in the soft blues of the little horses and in the rough textures of the hardboard supports.
The cityà appears as a fantastic mirage almost devoid of contours, radiated by a light that merges the buildings with the'water and the sky. Beside it stands Zurich represented in the 1949 watercolor on show, is it emerges, almost devoid of color, from the black profiles of the buildings, crossed by a flat river that does not produce glare of lights.
