The ANIMAL ROUTE at the Bailo Museum offers a fascinating perspective on the artists' representation of the animal world, with a focus on rural life and nature. The works of Guido Cacciapuoti and Luigi Serena stand out for their ability to capture the vitality and everyday life of animals, while using different techniques and styles.
Cacciapuoti, through his terracotta sculptures, focuses on the detailed and realistic rendering of animals. Cock and Hen (1913-14) is a remarkable example of how the artist manages to convey a sense of balance and stillness. The figures, joined at a single point of contact, create a visual dynamic with the diagonals of their bodies, while the base simulates a portion of the yard, and the modelling of the plumage is accurate. This work can be compared to the later Amori illeciti (c. 1915) where Cacciapuoti depicts an unexpected passion between a cock and a guinea fowl.

In Maialini (Piglets) (1913-14), Cacciapuoti captures the energy and excitement of a group of pigs during a meal, with a modelling that seems to make the animals emerge from the mud. The sense of movement is emphasised by the arrangement of the figures and the parallel and perpendicular lines. In Turkeys (1916), the artist shows his skill in depicting the pair of hens, with the male in courtship pose and the female more composed. The bronze-coloured patination accentuates the details of the modelling. Cacciapuoti's works reflect his familiarity with terracotta, inherited from family tradition, and his experimentation with models, developed during his years in Treviso. His concern for the animal world is also evident in his words: ‘In life all men seek a refuge: I have found it in the silence of animals and I strive to make it an expression’.
Luigi Serena, with his oil painting Horses at the Trough (1900), offers a different view of rural life. In this painting, men and animals share a moment of rest during a summer day.

The scene is set in a farmyard, with horses quenching their thirst and people engaged in everyday activities. Light plays a key role in the composition, with shadows and highlights creating intense and dynamic colour effects. Serena was inspired by French landscape painting and the Tuscan Macchiaioli, but developed her own style, giving great importance to the relationship between colour and light. The luminous intensity of the patches of colour and the chromatic contrast place light at the centre of the representation, creating a multi-sensory atmosphere.
In summary, the Bailo Museum's ‘Animals’ route offers a varied experience, with Cacciapuoti's sculptures celebrating the form and detail of animals, and Serena's painting highlighting the role of light and environment in rural life.

The SCULPTURE ROUTE at the Bailo Museum offers an overview of the evolution of sculpture, from Neoclassicism to the experiments of the early 20th century, with a special focus on Arturo Martini [conversation].

The tour begins with Antonio Canova, the greatest exponent of Neoclassicism . One can admire a statue of Venus in patinated plaster, which takes up the iconography of the demure Venus . This Venus is a 19th century version taken from one of the four marble versions made by Canova, and is distinguished by its almost complete nudity inspired by the ancient model. Next to Canova is the Bust of Antonio Canova made by Luigi Zandomeneghi in 1823. Zandomeneghi, active in the Veneto-Venetian area and an interpreter of the neo-classical climate, made this marble bust following Canova's death. Although inspired by Canova's self-portrait, the bust shows a more realistic face than the idealised representations of the artist.

The tour continues with works by Arturo Martini, which represent a turning point in 20th century sculpture. His artistic training, which took place between Treviso, Venice and Munich, led him to experiment with different techniques and styles.

Martini's early works include:

Maternity/Motherly Love/Monstrous Figure (1910), a patinated plaster work showing a disturbing figure embracing a young man, influenced by his stay in Munich and Secessionist taste. The sculpture transfigures the traditional iconography of Motherhood, expressing the pain of death. Martini himself acknowledges the influence of Serbian sculptor Ivan Meštrović on this work.

Maiden Full of Love (1913), a plaster cast depicting a young girl ready to give a kiss [talk, 6]. Influences of Jugendstil, known in Munich, and Modigliani, known during a trip to Paris, can be seen in this work.

Martini's sculptures of the later period show a return to form and an interest in classical models. Works from this period include:

Pisana (1930), a bronze representing a sleeping woman, identified with the heroine of the novel by Ippolito Nievo . The work, which combines ancient and modern, expresses a natural sensuality and refers to the theme of sleeping figures.

Adam and Eve (1931), a Finale stone sculpture depicting the pair of progenitors in a primordial context. The sculpture, placed outdoors, recalls the models of archaic statuary.

Venus of the Ports (1931), a refractory terracotta depicting a seated woman, her gaze lost in the void, in a dimension of ‘disconsolate indolence. The work, made with a rough surface, associates the theme of waiting with the everyday life of the prostitute.

The tour also includes the Via Crucis cycle (1926-27), six terracotta tiles representing episodes from the Passion of Christ. These tiles show a focus on medieval art and a recovery of historical-artistic roots.

This itinerary allows us to appreciate the variety and richness of sculpture, from classical forms to modern experimentation, and to discover the work of Arturo Martini, a protagonist of the 20th century Italian art scene.

The Bailo Museum's FASHION PATH is an exploration of late 19th and early 20th century society through the eyes of the artists who portrayed its protagonists. The works on display go beyond the simple representation of fashion, becoming documents that narrate the values, aspirations and social transformations of a crucial era.
Beginning with Luigi Serena and his 1908 Portrait of Signora Zamprogno Dal Din, we find ourselves immersed in the high society of Montebelluna, where sober elegance and attention to culture were distinctive features. The 1903 Venice Biennale catalogue, held in the lady's hands, emphasises the active role of wealthy families as patrons and purchasers of art. Serena, with her ability to capture the essence of her subjects through physiognomic analysis and psychological introspection, adapted her style to the subject. This portrait, one of the few full-length portraits, was taken at a time when the artist, due to financial and health problems, intensified her activity as a portrait painter. Despite new artistic trends, Serena remained a point of reference for artists in his area.

Continuing with Bepi Fabiano and Donne in maschera of 1927, we observe the author's artistic evolution. After a period dedicated to caricature and illustration, Fabiano approached the Novecento movement, focusing on the definition of volumes and colour balance. In this work, the artist creates an essential setting where figures dialogue with the viewer through poses and expressions. The use of pastel, a technique that had characterised his early days in illustration, remains a distinctive element of his style.
Lino Selvatico's 1923 Portrait of Teresita Lorenzon transports us to the 1920s, with their daring fashion. The young woman portrayed, with her garçonne haircut and fashionable clothing, perfectly embodies the spirit of the era. The work, set in the artist's Milanese home-studio, shows how Selvatico was able to combine official portraiture with the rendering of character and intimacy. Coming from a family of high social status, Selvatico specialised in depicting worldly and elegant models, with European influences typical of the Belle Époque. His portraiture of women had such a resonance that it overshadowed his production of male and children's portraits.

Finally, Giulio Ettore Erler with his Portrait of Margherita De Donà Calzavara of 1911 offers an example of an official portrait typical of high society. The elegance of the dress, with its refined details, and the pose of the figure on the carriage platform emphasise the social status of the woman portrayed. Erler, who trained at the Accademia di Venezia and Brera, is distinguished by a robust painting style, with particular attention to detail and rendering of the characters' character. Despite the artistic innovations of the period, Erler maintained a 19th century sensibility, gradually isolating himself from artistic circles.
The FASHION PATH is therefore a journey through the history, culture and art of a period of significant change. Each work on display offers a perspective on the role of art as a mirror and interpreter of reality, showing how artists were able to capture and convey the essence of their time through the human figure and its clothing.

The PERCORSO RITRATTI (PORTRAITS) at the Bailo Museum offers a fascinating look at the evolution of portraiture through the works of Gino Rossi and Giovanni Apollonio, two key figures in early 20th-century Treviso art.
We begin with Gino Rossi, whose ‘Seated Woman / The Merry Woman’ we admire. Painted between 1913 and 1919, this oil on cardboard shows a seated woman in simple clothes, a fan in her hand, her head bowed and her gaze downcast. The work is distinguished by the essentiality of its forms and the use of two primary colours, yellow and blue, outlined by a marked mark that creates two-dimensional zones. The painting's history is complex: exhibited in 1913, it caused a scandal due to its innovative language. It subsequently disappeared, only to reappear after the Second World War, with some changes compared to the first version. The female subject, already present in earlier works by Rossi, here takes on a greater essentiality, reflecting a turn towards a reworking of the Cubist style. The work shows a move away from the anti-naturalism of the Breton years, to embrace a new plastic construction of the figure.
Moving on, we meet Giovanni Apollonio, of whom we can observe several portraits that show us his versatility and talent. ‘Self-portrait with hat and pipe’ of 1903, is an early work where the dynamic brushstroke effectively renders the details of the subject, such as the hat, the tie and the smoke from the pipe. Turning to the ‘Portrait of Cavalier Moresco’ of 1907, one can see how Apollonio developed a more mature style. The portrait, characterised by an austere gaze, is rich in realistic details, such as expression lines and thinning hair, which emphasise the subject's age. The choice of the background colour, a Pompeian red, is linked to the Moresco residence, an important meeting place for artists and intellectuals.
Finally, ‘After Lunch at Moncia’ of 1908, presents us with a more intimate and informal image of Countess Sofia Felissent Moresco, portrayed in a trattoria outside the city. Unlike the ‘official’ portrait of her husband, this painting, made a year later, shows a different style, more related to Impressionism. The scene, illuminated by an intense light, captures a moment of serene everyday life.

The countess, smiling and fashionably dressed, flaunts her emancipation by smoking, a gesture considered inappropriate for high society women at the time. The rapid and concise brushstrokes, together with the choice of subject and setting, reflect the influence of French painting. All of Apollonio's paintings exhibited here come from the bequest of Countess Sofia Felissent Moresco.
Through these portraits, the Bailo Museum offers an immersive experience in early 20th century art, highlighting the different interpretations of the genre and the stylistic evolutions of the artists.

The Bailo Museum's DAILY LIFE PATH offers a profound and multifaceted look at everyday life in the past, captured through the eyes of artists who interpreted reality with sensitivity and skill. The exhibition is not limited to a mere display of scenes from life, but invites us to reflect on the social changes, living conditions and emotions that characterised different eras.
One of the highlights of the route is the works of Luigi Serena, an artist who, after his training in Venice, moved to Treviso and became a keen observer of local life. His works range from work scenes, such as ‘Lavandaie sul Sile’, which shows women intent on their daily labours along the river, to market scenes and moments of domestic intimacy. In ‘Laundresses on the Sile’, in particular, the loose brushstrokes and attention to luministic details recall late 19th century verist painting. Serena shows particular sensitivity in portraying the female figure, immortalised in a variety of contexts, from housework to walks with friends.

Another key work in the itinerary is Eugenio Bosa's ‘L'estrazione del lotto in piazzetta San Marco’, which captures a moment of popular life in 19th century Venice. In this crowded scene, the artist vividly portrays the social and cultural variety of the city, far from the glories of the past and close to the insurrectional uprisings of ‘48. Bosa moves away from historical Romanticism, choosing to represent the contemporary people in their customs and weaknesses. The work was acquired thanks to the bequest of entrepreneur Sante Giacomelli, an unusual choice for collectors of the time, who preferred works with historical content.
The ‘Vita Quotidiana’ itinerary does not neglect social themes, as evidenced by the work ‘Vittime (La Preghiera)’ by Luigi Serena, in which a mother and her daughter pray in a church, in a scene full of despair and melancholy. In this work, Serena approaches the themes of social verism, demonstrating his attention to emerging artistic trends. The human drama of the two figures, left alone, emerges strongly, recalling the poetics of the humble also treated by other artists of his time.

Finally, the exhibition offers a glimpse into the past through works such as the ‘Group of the Painter's Family with the First Self-Portrait’ by Francesco Hayez. This work, painted during the Venetian years, shows the influence of local painting and its protagonists, depicting a domestic and absorbed environment. The work, purchased by Abbot Bailo for his personal collection, later became part of the collections of Treviso's civic museums.
In short, the Bailo Museum's ‘Vita Quotidiana’ (Everyday Life) itinerary allows us to appreciate not only the artistic mastery of authors such as Serena, Bosa and Hayez, but also the richness and complexity of everyday life in past eras, through depictions of work, moments of leisure, intimate scenes and reflection.