Gino Nibbi

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Gino Nibbi
Gino Nibbi.jpg
Born(1896-04-29)April 29, 1896
Fermo
DiedDecember 17, 1969(1969-12-17) (aged 73)
Grottaferrata
Burial placeCimitero comunale di Porto San Giorgio
43°09′46″N13°48′00″E / 43.16289°N 13.80009°E / 43.16289; 13.80009
Citizenshipnaturalised Australian
EducationAccountancy
Occupation(s)author, art critic and bookseller
Years active1919-1969
Known forLeonardo Art Shop, Melbourne
SpouseElvira (née Petrelli)
Parent(s)Anna (née Spinelli) and Pasquale Nibbi

Gino Nibbi (1896-1969) was an Italian-born naturalised Australian author, art critic, gallerist, intellectual and bookseller in Australia and Italy, who helped educate and connect Melbourne modernist artists and their public. [1]

Contents

Early life

Nibbi was born on 29 April 1896 in Fermo, Italy, to Anna (née Spinelli) and Pasquale Nibbi, a cooper. They moved to nearby Porto San Giorgio, also in Fermo province on the Adriatic Sea. There, Gino completed studies in accountancy at the Technical Institute of Ascoli Piceno on 2 September 1915. Serving in artillery as a lieutenant in World War I he was decorated for bravery, but the experience convinced him to become a pacifist. Post-war he kept accounts for an agricultural cooperative in Fermo then for a pasta factory Società Molini e Pastifici, in Porto San Giorgio, where on 3 April 1922 he married schoolteacher Elvira Petrelli whose father was a painter, a copyist of old masters. Nibbi's own interest in contemporary art developed through his friendship, from 1920, with the painter and Fermo art teacher Osvaldo Licini who in Paris had met Picasso, Cocteau, Modigliani and Cendrars and exhibited with Kandinsky, [2] and who drew Nibbi to the French avant-garde, [3] [4] an interest shared by another friend Acruto Vitali.

Palmer associates Nibbi with other expatriates Yosl Bergner, Danila Vassilieff, Peter Herbst, Gerd Buchdahl, Franz Philipp and Ursula Hoff, whose ‘ordeals in Fascist and Nazi Europe…manifested in their relocation to Australia.’ [5] Haese is more specific: '[Nibbi's] reasons for migrating were to do with both politics and art. Mussolini's accession to power was a factor in prompting the move, since Nibbi had been a fervent supporter of the Italian Republican Party, with its strong liberal tradition of anti-clericalism, anti-monarchism and anti-fascism.' [1] Nibbi's friend Licini was jailed for his protests against the fascists, and Nibbi obtained authorisation to emigrate only through the intervention of journalist Margherita Sarfatti. [2] Artieri confuses Gino Nibbi with Gino Bibbi, an 'individualist anarchist' implicated in assisting Gino Lucetti's attempted assassination of Mussolini in 1926. [6]

Before leaving Italy Nibbi edited the anti-Marinettian Futurist and Dadaist Le Pagine during its short life 1916-1917, and was a regular contributor in the 1920s to La Fiera Letteraria, the Italian magazine of letters, sciences and arts (later titled, in Rome, l'Italia Letteraria). [7]

Australia

In 1926 Nibbi emigrated to Melbourne, followed by his family in 1927. From thence he undertook a pilgrimage to Tahiti and the Society Islands pursuing his interest in Paul Gauguin's life in the South Pacific, [1] seeking 'memories [of Gauguin] surviving among the people.’ [8] In Italy he published the results in The Islands of Happiness (Milan, 1934). [9] [10]

Leonardo Art Shop

Advertisement for the Leonardo Art Shop in 'Stream' 2 August 1931

Returning to Melbourne in 1928 he established, as Sendy notes, [11] at 166 Little Collins Street, near the corner of Exhibition Street, close to the famous Victoria Coffee Palace and a few doors from F. W. Cheshire's, an avant-garde literary and art shop, his Leonardo Art Shop. [1] O'Grady places it 'at 170 Little Collins Street, behind George's department store.' [2] Meanwhile, Elvira taught Italian at the Melbourne Conservatorium of Music and the Berlitz School of Languages.

The shop was advertised in 1931 as:

...a veritable bit of Paris—a book-salon, intimate, colourful, and satisfying. You’ll find at the Leonardo Art Shop, as well as the more important English  and American publications, books and periodicals in almost every European tongue French, German, Russian, Spanish, Italian, Polish, Yiddish—Adequate reproductions of the New Masters—Cezanne, Van Gogh, Renoir, Manet—Art-albums for architects and interior decorators—and modern music, too. Here, in brief, is a sophistication, an atmosphere of modernism, suggestive of  some friendly little book-store in the  Rue de I’Odeon. [12]

Nibbi was a vehement supporter of modern art and was close to Giorgio de Chirico and Amedeo Modigliani. [13] He imported and sold postcards, magazines including in 1931 the magazine Stream for which he wrote on modern art, [14] and books in various languages, on European modernism, [15] as well as the quality poster prints of Post-Impressionist works published by Piper in Munich; all being superior to the reproductions previously seen by his customers who included Clarice Beckett, Russell Drysdale, Albert Tucker, Arthur Boyd, John Perceval, Ian Fairweather, Eric Thake, and Donald Friend. These artists, despite their geographical isolation from Europe, were thereby exposed to innovators of modernism, [16] and in the bookshop they would encounter each other. Fairweather had left Bali for Melbourne early in 1934 and was quickly oriented to the Antipodean scene when Nibbi, who recognised his unique talent, introduced him to George Bell, 'Jock' Frater, [17] Arnold Shore and others. Tucker noted that “he went out of his way to import a whole lot of the postcard prints, cheap reproductions and better quality reproductions and books covering the contemporary movement …” [18] [19] Harding notes that it was Nibbi in the early 1940s who introduced Tucker to the expressionism of Edvard Munch, which led him to the Germans Max Beckmann, Otto Dix and George Grosz. [20]

Vic O’Connor recalled to Barbara Blackman his dawning teenage interest in art when in about 1932 he’d ‘spend a couple of hours in Gino Nibbi's bookshop, [to] read books [and] look at pictures or talk to Gino Nibbi,’ ‘there was no other bookshop in Melbourne like it,’ and that next door was Riddell furniture shop and gallery with exhibitions of Arnold Shore and Danila Vassilieff. O’Connor describes Nibbi’s friendliness and his:

'inquiring mind, he was an interesting man and he…was a great talker, …stoutish and great wavy Italian brown hair and huge milky brown eyes, and wonderful operatic gestures. He could've been singing any of the Puccini operas when he talked to you….he was very conservative politically but he had this wonderful love of culture and he lived it. I remember him telling me…what he was reading. [21]

Nibbi would invite O’Connor to his home, a modest weatherboard terrace-house at 4 Kooyong-Koot Road, Hawthorn where he had original artworks; ‘a nice Chirico [his late Horses on the Beach, a gift of the artist] [1] some paintings by Gino Severini, the Italian cubist, a Carlo Carrà, and he had a Kisling, Moïse Kisling…’ [21] De Chirico's intrigue with distant, melancholic Melbourne, mentioned early in his 1929 Hebdomeros, was piqued when his friend Nibbi sent him a postcard of the city's Italianate Treasury Building. [22]

Elvira and Gino Nibbi in Melbourne, 1937 Elvira and Gino Nibbi, Melbourne 1937.jpg
Elvira and Gino Nibbi in Melbourne, 1937

For the Australian Broadcasting Commission, Nibbi occasionally presented ‘The Art of Italy’ on radio from September 1933, then from January 1934 until February 1936 spoke on ‘The Italian Language’ in weekly programs from which he generated Gino’s Newest Italian-English Reader (Melbourne, 1936).

The couple traveled to Italy for the launch of Nibbi's short stories Il Volto degli Emigranti (Florence, 1937), thirteen accounts by Italian migrants. [23] Generously, he had advertised that he would be leaving for Italy on December 15th 1936 to ‘visit the principal cities of Italy for business reasons, and ... is in a position to take an interest in business of various kinds, especially those which may concern Italian customers.’ [24] The couple visited Berlin, then Paris, where Nibbi interviewed De Chirico, Brancusi, Zadkine and Kisling for his biography of Modigliani. O'Grady, whose information comes from his interview with Nibbi who was then 70, indicates that it was on that trip that he acquired the paintings by De Chirico, Kisling and Severini mentioned by O'Connor. [2] In October that year he loaned to the New South Wales National Gallery for an exhibition of contemporary European art [25] his Kisling, which Basil Burdett singled out as 'the most reresentative modern work in the show. It represents the "Back to Ingres" movement of French modernism...a very exquisite small work indeed.' [26]


Censorship

After being asked in 1929 by police to remove an 'offensive' Renoir nude from his window, [2] in February 1930 Nibbi had been fined £20 (equivalent to more than $1,800 in 2025) for importing an 'obscene' book, [27] then returning from Genoa on the Remo in September 1937, [28] he brought with him 50 colour prints of an Amedeo Modigliani reclining nude, a reproduction commissioned by Nibbi with permission of its owner, and which he sold for 2/- each. In November they were seized by the Customs Department on the grounds that the subject matter was ‘prurient,’ justified because the cheap prints ‘would have a strong appeal for other than the genuine collector…[and] would not be displayed by a discriminating art dealer.’ [29] Nibbi appealed, and the story appeared in nearly every Australian newspaper including the regionals, with the effect of boosting the notoriety of his Leonardo Art Shop.

Art critic

Chanin ventures that Keith Murdoch's December 1931 display 'Modern Masters in Colour Reproduction,' at the assembly-room at his Herald and Weekly Times, of posters of European art, [30] was his response to Nibbi's provocations about the parochialism of Australian art being 'stilted and half-dead,' [31] in his writing to the Herald . [32]

Naturalised in February 1939, in 1938 Nibbi had been a founding member, and in 1941 was elected lay vice-president, [33] of the Melbourne branch of the Contemporary Art Society of Australia, formed after discussions in his bookshop, [34] to counter Menzies' conservative Australian Academy of Art. [2] Art in Australia introduced him in a foreword to his article 'Ideas Behind Contemporary Art', in which he discusses the C.A.S. exhibition in June at the McAllen Gallery of the National Museum of Victoria which showcased the group's diverse talents.

Signor Nibbi is of Italian birth; but he has lived for many years in Melbourne. His Leonardo Book Shop has done much to familiarse the public with contemporary art through reproductions and literature. He is closely in touch with the latest developments, both here and abroad. In this article, he sets out to probe and penetrate into the ideas which have animated various prominent members of the Contemporary Art Society. [35]

In this representative sample of his discerning critiques, he addresses the embrace of modernism by the exhibitors, in some detail: Russell Drysdale's combining of cubism and realism in 'vivid, plastic relief'; 'delicate, unreal atmospheres' in Eric Thake's abstract fantasies; Albert Tucker's struggles with his rigid colour application in his advance towards abstraction; 'magical and disturbing imagery' in James Gleeson's Dali-influenced surrealism. He details how sculptor Clive Stephen 'excavates' material to 'free it from some secret'; discovers a 'controlled sobriety' and balance in David Strachan's 'debut' in cubist still life; admires Erik Dorn's arabesque line and Louise Thomas's 'unusual virility; praises Purvis Smith as 'one of the most qualified at present to give some allegorical interpretations of the virgin appearances of the Australian land'; expresses disappointment that George Bell, a 'modern experimenter' and main founder of the group was not well-represented in the exhibition; encourages Sali Herman's nascent inventive ventures; and puzzles over Joan Yonge's success in 'producing portraits with such thick and vibrating impastos, and of an inspiration so warm'; remarks that Marjorie North is 'seduced by the cubistic technique'; and admired Edith Hughston's 'head of a girl, whose accent, expressively barbaric, was most effective. Common amongst these artists is their rejection of the Academy, he says, and its promotion of a 'mythical' Australian Art, when 'art is inevitably tending to renounce every local peculiar characteristic, to assume the function of an instrument conveying universal significance...a local art could not help appearing provincial, amateurish.' Consequently, he concludes, it is more useful to believe in Australian artists like these, than 'Australian art.'

Amongst other members of the C.A.S. Nibbi contributed a 10-minute talk 'A Few Remarks About Abstract Art' for the public attending the exhibition, [36] and was the announcer of its £50 prize for best exhibit, joint winners; James Gleeson, for We Inhabit the Corrosive Littoral of Habit; and Eric Thake, for Salvation from the Evils of Earthly Existence. [37]

To the second, and penultimate, issue of Cyril Pearl's journal Stream, which he distributed, Nibbi contributed his essay 'Some Modern Masters' surveying French modernists. [38] Not restricting himself to visual arts, he wrote in 1935 on Sicilian playwright Luigi Pirandello for Manuscripts: A Quarterly Of Art And Letters, published by the Bookshop of Margareta Webber, which was effectively a competitor of his own business. [39] For Max Harris's Angry Penguins 4th 1940 issue Nibbi's poetic essay on 'Rousseau Le Doouanier' was translated from the Italian, [40] and in the following issue he wrote about Arthur Rimbaud, and in 1941 for Cecily Crozier's A Comment he wrote on El Greco, rhapsodising over his:

...harmony of the vertical line in the gothic cut of characters stretched skywards, as ushered by the ether which blurs their features; organization of acute angles allowing more stressed violation of space; prettiness of tapering fingers to the extent of resembling petals of strange lilies; phosphorescences wriggling along edges of contours, as if burning by contagion. A propos, one could safely remark that everything emerging from his vision, seems both glowing under reverberation of blaze,  and slightly veiled by diaphragms of emerald motes. [41]

In Ern Malley's Journal, also edited by Max Harris and John Reed, with Barrie Reid, in 1955 he writes in Italian, translating into English himself, about the 'anti-romantic' qualities of Arthur Boyd's then current production of terracotta sculpture. [42]

Return to Italy

Albert Tucker (c.1953) Gino Nibbi's Galleria ai Quattro Venti, Rome (detail) State Library of Victoria. Gift of Barbara Tucker, 2010 Albert Tucker c1953 Gino Nibbi's Galleria ai Quattro Venti, Rome.jpg
Albert Tucker (c.1953) Gino Nibbi's Galleria ai Quattro Venti, Rome (detail) State Library of Victoria. Gift of Barbara Tucker, 2010

Nibbi's lease on his shop ended, and unable to find another such accommodation for his business, he returned with his family to Italy in 1947 and opened Ai Quattro Venti, a bookshop and art gallery in Rome which he operated for ten years. He maintained his Australian connection and in 1952/53, mounted an exhibition there of Sidney Nolan's and Albert Tucker's work, before commuting restlessly between his native and adopted countries 1954-1963 finding himself, as Luzi notes, 'intolerant of Europe, but equally dissatisfied with Australia.' [43] During this period he developed diabetes and a gastric ulcer resulted in part of his digestive tract having to be removed. [2]

Writer

Nibbi published in Florence the philosophical Oracoli Sommessi in 1953, revisiting Italy in 1957 for the 52nd Dante Alighieri congress and returning to Melbourne in April 1958 on the liner Riouw. In Japan where in 1961 he was art critic for the Japan Times and produced the unpublished Variazioni Nipponiche, on Japan and its artists. He was also a contributor to La Fiera letteraria , L'Osservatore Politico Letterario and the Australian magazines Art in Australia, Modern Art News and Broadsheet . Prior to his permanent return to Italy in 1963 Nibbi went to the inaugural meeting in Melbourne of the Australian members of the International Association of Art Critics.

From 1963, when he and his wife were living in the hills near Rome, he was an art correspondent, and included writing on Australia and Australian artists, in his submissions to Italian journals and the Italian newspapers; Il Tempo , Il Resto del Carlino , and Il Giornale d'Italia ; to Goya in Madrid; and to the Melbourne Herald and the Italian language Il Giornale Italiano published in Sydney. [44] These activities had the evident effect of improving cultural relations between the nations of Italy and Australia.

In 1965 in Milan he published another set of short stories set in Australia, Cocktails d'Australia, [45] and a biography of Amedeo Modigliani, part of the unpublished Galleria, discussion of one hundred classical and modern artists, both Italian and foreign. His love of language that he shared with his wife inspired his compiling of a dictionary of endangered Italian dialects spoken in the Marche provinces of Macerata and Ascoli Piceno.

Nibbi died on 17 December 1969 in his home near the supposed site of Cicero's villa at Grottaferrata. He was survived by his partner Elvira, daughter Sandra (b.1923), and son Tristano (b.1925). Buried in the cemetery at Porto San Giorgio, he is commemorated in the name of a road in Porto San Giorgio.

Published books

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References

  1. 1 2 3 4 5 Haese, Richard (1982). Rebels and precursors : the revolutionary years of Australian art. London: Allen Lane. pp. 11, 12, 24, 34, 47, 64, 87, 285, 296, 318. ISBN   978-0-933516-50-2.
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  3. ↑ O'Grady, Desmond (2000). "Nibbi, Gino (1896–1969)". Australian Dictionary of Biography, National Centre of Biography, Australian National University. Retrieved 24 January 2025.
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  20. ↑ Harding, Lesley (2006). "Albert Tucker in Paris: Visions of the Demimonde". Art and Australia. 43 (3): 403.
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  28. ↑ Inward passenger manifests for ships and aircraft arriving at Fremantle, Perth Airport and Western Australian outports, chronological series, Dec. 1897–Dec. 1978. Series K269. National Archives of Australia, Queen Victoria Terrace, Parkes ACT 2600.
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  39. ↑ Nibbi, Gino (20 February 1935). Miller, H. Tatlock; Jackson, A. C. (eds.). "Luigi Pirandello: Nobel Prize Winner". Manuscripts: A Quarterly of Art and Letters (12). Melbourne: Bookshop Of Margareta Webber: 35–36 – via TROVE.
  40. ↑ Nibbi, Gino (1940). Harris, Max; Reed, John; Kerr, D. B. (eds.). "Rousseau Le Douanier". Angry Penguins (4). Adelaide: Adelaide University Arts Association: 17–19. nla.obj-3084411245. Retrieved 25 January 2025– via Trove.
  41. ↑ Nibbi, Gino (September 1941). "El Greco". A Comment (September 1941). Melbourne: Bradley Printers for Cecily Crozier. nla.obj-3085369969. Retrieved 26 January 2025– via Trove.
  42. ↑ Nibbi, Gino (May 1955). Harris, Max; Reed, John; Reid, Barrie (eds.). "Arthur Boyd: A Victorian Artist". Ern Malley's Journal. 2 (1). Heidelberg, Victoria: 14–16 – via TROVE.
  43. ↑ Luzi, A. (2008). "Uno scrittore tra emigrazione nomadismo". In Carotenuto, Carla (ed.). Gino Nibbi Marchigiano d'Australia (in Italian). Metauro: Pesaro. p. 40.
  44. ↑ Il Giornale Italiano 05 Sep 1934 ·Page 6
  45. ↑ Rando, Gaetano; Moliterno; Gino (2011), Celluloid immigrant : Italian Australian filmmaker, Giorgio Mangiamele, Australian Teachers of Media, RMIT University. School of Media and Communication, ISBN   978-1-876467-21-0, ISSN   1444-7037
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