pag. 33: cliché a colori cm 12 x 8,5
790 x 600 mm
pag. 35: cliché a colori cm 13 x 10,5
“Bambini del Tirolo”, 1937
650 x 530 mm
cliché bn cm 5,5 x 5 “Autoritratto”, pastello
cliché bn cm 7 x 5 “Candore”, marmo
cliché bn cm 7 x 5,5 “Bambine tirolesi” olio
cliché bn cm 7 x 5 “Ortensie” olio
IVANCICH-CHIEREGO, Nives-Nuzzi (1905-2001.)
Mjesto, datum rodenja/smrti: Fiume, 12.1.1905. - Stesa, 16. XII. 2001.
Roditelji: Ernesto i Elena Supancich
Adresa: Rijeka, Via Ciotta, Via Spalato; Milano.
Skolovanje: Samostalno - privatne instrukcije (Ugo Terzoli) i milanski slikari (Elisabette Keller, Attilio Andreoli, Ina i Boris Zueff)
Odiazak iz Rijeke: Emigrirala u Milano 6. listopada 1928.
Skupne izlozbe: Rijeka - XV esposizione del sindacato interprovinciale fascista del'art della Venezia Giulia, 1941
Samostalne izlozbe: Milano, 1936.
Figurativno prikazivanje svakodnevice, isprva realizam vrlo zivih boja, prepunih svjetlosti, poslije gotovo fotorealisticke slike s posebno izrazenim eksperimantiranjem u prikazu stakla i vode s efektima loma svjetlosti tè laganih, prozirnih tkanina. Teme (intimisticke): mrtva priroda, kucni interijeri, pejzazi, cvijece, portreti u svim tehnikama. U kiparstvu eksperimentira pokretom (balerine, ples) zeleci prikazati bestezinsko stanje let.
Dal testo “Rijeka situation 1920-1940” (Daina Glavočić)
Pag. 62: “Art exhibition” (October 1941, XV Esposizione del Sindacato Interprovinciale Fascista dell’Arte della Venezia Giulia). (…) The exhibition’s organization committee was presided by Marcello Mascherini, an inter-provincial union secretary and another Rijeka member, engineer Ugo Lada, also president of the Union of Professional and artists, together with Ladislao De Gauss, a commissioner of Rijeka Union section, who was as a secretary of the exhibition as well. Together with Triestine painter Lannes, he had set up the exhibition for which jury (Mascherini, Carà, Lannes, Orlando, Moro) selected 111 paintings, 254 sculptures and 19 works on paper (drawings, watercolours, graphics). From 125 applied artists, the jury had chosen 67. Amongst these were 15 Rijekans, presented at a showroom marked Artisti fiumano (Antoniazzo, Arnold, De Gauss, di Giusti, de Hajnal, Knollseissen, Morini, M. Ostrogovich, Raicich. Terzoli, Venucci, Butcovich-Visintini and three new names- Nuzzi Chierego Ivancich, Gerardo Ianelli and Vera Scradino). Solemn opening was attended by all the more important personalities of the city protocol of Everyday, newspapers published comprehensive critical reviews of the exhibitions by Bruno Neri, and also by Fiuman poets Osvaldo Ramous and Oreste Carpinacci. (…)
pag. 67: “Fiumanian sculpture”
Nives Nuzzi-Ivancich (1905-2001) was a Fiumanian who, after marrying, signed her works exclusively as Chierego. Early on, at the beginning of period encompassed by this exhibition of ours, namely in 1921 (1), she permanently moved to Milan, tirelessly creating paintings and sculptures until she died. Self-taught, but supported and instructed by Zouf (2) couple, also painters, she had numerous exhibitions in Milan and even numerous private commissioners, especially of portraits. She always painted by directly observing the model, i.e. nature. It is very unusual that she had directed her talent to the sculpting as well, both in casting bronze (learning from Pomodoro (3)) and marble (Candora sculpture), filling multiple commissions for church interiors, She used the sculpture of smaller dimensions to explore the movement, endeavouring to present figures in unstable balance, even floating. However, neither she was alien to large formats intended for urban exteriors nor she shrunk from realizing multiple themes for sepulchral bronze sculptures, scattered over the graveyards of North Italy (Milan, Alpignano, Bogno, Besozzo, Macugnaga, Stresa).
(1) dai documenti risulta 1932
(2) Ina e Boris Zueff
(3) fianco a fianco con Pomodoro, nella fonderia d’arte Battaglia a Milano: i due si parlavano più che cordialmente, Pomodoro fece anche apprezzamenti positivi sui lavori Chierego, ma non ci fu “learning”.