Guido Cadorin (Venice 1892 - Venice 1976) son of Vincezo, a sculptor and craftsman of marble, was born into a family of artists, sculptors and architects. His daughter is
Ida Barbarigo, painter and wife of Zoran Music.
The importance of Guido Cadorin consists in an original and important contribution from the artistic culture of the Italian Art Nouveau, to Secessionism in central Europe, to the innovative culture of Cą Pesaro, to the Magic Realism and to Novecentista movement. A Cadorin language sets him apart from the later years until the early seventies.
In 1909, student of Cesare Laurenti, exhibited at Cą Pesaro and in 1911 at the exhibition dedicated to the fiftieth anniversary of Italy with three of his paintings. He joined the world's major artistic events (at the Galleria Pesaro in Milan 1923, Amsterdam and Rotterdam 1924, New York 1925, Brussels 1930).
In 1923 he participated in the first edition of the Biennale of Decorative Arts in Monza, exposing a series of painted pottery hand, some furniture, pots, a chandelier, a fountain and some mosaic glass vases made by Toso glassworks in Venice. Struck by his art, Gabriele D'Annunzio in 1924 asked him to decorate his bedroom, the "Zambra of Miselli", in his Vittoriale villa. In 1925 he is still present with some ceramics at the Monza Biennale.
From 1928 to 1962 he taught decorating and painting at the Academy of Venice. In 1934 he took part in the Venice Biennale and in 1938 and 1942 with a whole room. Between 1949-1950, he agreed to participate in the formation of Verzocchi collection about the work making, a self-portrait, the painting painters of boats. He also made the activity of frescoes and mosaics.
In 2007 the exhibition "Guido Cadorin 1892-1976" at the Fondazione Querini Stampalia in Venice. The exhibition, in addition to repeat some of the artist's works considered landmarks: La beghina (1909), Lidolo (1911), the famous triptych Carne, carne, sempre carne (1914), Il canale (1921), the refined Lagoons of the twenties, some amazing portraits and portraits, has a large number of both new works and works little known to the public and scholars themselves, appeared to be important exhibitions such as the Venice Biennale of the year in which they were made and then no longer or rarely exposed. Among those Fanciulla seduta (1909), La collana di perle (1928), Donna con la collana (1929), Mia sorella (1930), Solitudine (1957), Self-Portrait of 1968, as well as a series of drawings which are a something entirely new and important cultural and historical-critical.
