“A Place Called Humbravana”

Friday, October 21, 2016

“A Place Called Humbravana”

“A Place Called Humbravana” by Imero Gobbato, Gallery Talk November 5

The Camden Public Library will host an exquisite exhibit, “A Place Called Humbravana,” featuring the work of Imero Gobbato during the month of November. “An Introduction to Humbravana” will be presented by Gobbato’s friend and studio assistant, Rose Willson, on Saturday, November 5, at 2:00 pm. Originally from Italy, Imero Gobbato was an imaginative, talented, and prolific artist who lived and worked in Camden for many years. All his life he created paintings, drawings, prints, carvings, boats, models, and music. He is best known for his highly collected, light-filled paintings, reflecting his love of the rocky shores of Mid-Coast Maine. As an illustrator of children’s books, he also attracted a following of admirers who still cherish the whimsical storybook characters he brought to life. He also designed several yachts, one of which is the ketch ‘Angelique’ of Camden Harbor. Yet all the while he was earning a living from these creative endeavors, part of him was in another world. His world. A place called HUMBRAVANA. (pronounced: Hoom-brah-vah-nah)

The November exhibit is an introduction into Imero Gobbato’s observation of the land, people, creatures, and way of life of the mythical land of Humbravana, and explores the thoughts, ideas, and personal philosophy of the artist’s journey. Featured are original paintings, drawings, hand-pulled prints, and digital reproductions, as well a selection of some authentic Humbravanian memorabilia.

For more information contact the Camden Public Library at 207-236-3440, or visit www.imerogobbato.com.

IMERO GOBBATO
December 28, 1923 – July 6, 2010
(This biography is drawn from a longer article on the artist’s website.)

Imero Gobbato was born in Milano, in northern Italy, on December 28, 1923. He lived with his parents, Benedetto and Eugenia, an older brother Armando, and at various times other members of his father’s family, in a villa adorned with frescos and surrounded by a farm with orchards and gardens. His home sat on the Lombardy Plaines, amidst the ancient canals which had once been part of the most strategic and extensive waterway system in Europe, connecting the young boy with a history of agricultural and industrial activity and an inspiring cultural richness. From the 14th-15th century, the great master (and an idol of the young Gobbato) Leonardo DaVinci resided in Milano for 25 years and, among other remarkable accomplishments, had made a significant contribution to the sophisticated web of rivers and canals.

“I always loved art, and I had been drawing since the age of 6, so my parents, who were very easy to get along with, sent me to art school,” said Gobbato. “The training was very strict, with tremendous emphasis on drawing, drawing, drawing. I resented that, in a sense, but on occasions in my life, I was glad I had all that drawing. When I was in school, one of the good things about the instruction was that it was very insistent on the medium and technical side. Our teachers weren’t encouraging us to become famous artists. We were there to learn and we were told we could express ourselves when we finished school.”

Despite the increasing violence and instability in Italy, upon completion of his schooling, Imero discovered the unspoiled village of San Fruttuoso on the Italian Riviera. Abundant with lemons, oranges and azaleas, there were only about 30 fisherman and their families populating the quiet enclaves of the plunging, rocky cliffs. He rented an old stone house on the very edge of a lagoon, where he would often dive in the clear waters to catch fish for his meals. The water was clear enough for him to actually paint 30 feet underwater, wearing diving gear, using oil and parchment paper! But in the winter, with no glass in the windows, it was damp and cold, so he rented a room in the neighboring fishing village of Camogli. During this time, he made a modest living for himself illustrating for a boy’s magazine, but these two beautiful coastal villages would inspire hundreds of paintings, drawings and prints for the rest of his life.

Years later, now in the US and wearying of city life, Imero and Josette began to take weekend excursions in search of a new home. A drive up the east coast prompted further investigation and soon after an advertisement in the then ‘Maine Coast Fisherman Magazine’ revealed a cottage for sale on Swan’s Island in Maine. They packed their bags and moved. “The coastline is what attracted me. I Iike very much, this contrast which is reflected so often in my life – the liquidity, the fluidity of water, the constant, sometimes friendly conflict of water caressing. Sometimes the water comes against the rocks and there is no more caressing. That reflects so much-the rocks, the harshness of the coastline.”

A visit to Camden, Maine was the turning point. There, on the north side of the harbor on Sea Street was a run-down empty house, rumored to have been a brothel at one time. The couple purchased their home in September of 1966. A final move was made. Moving to Maine gave Imero the space and time he craved to pursue his own art. He continued to earn a living with his children’s illustrations for a while, but became more and more passionate about his principal artistic infatuation: painting. He also began to equip his studio with tools and supplies for his interests in printmaking, wood carving, model making and music.

With his gentle and inquisitive demeanor and his home and studio backed right up to the Camden Harbor, Imero easily befriended several of the Windjammer captains who ran their schooners out on the Penobscot Bay. He and Josette were often invited out for a day cruise to a picnic on one of the many small islands dotted on the bay. “Sometimes I would take the wheel, but mostly I would just sit and look and dream. I owe so much of my paintings to those captains.”

Quickly embraced by the local talent of sea faring musicians and artists who frequented the working harbor, Imero became good friends with such notables as Gordon Bok and Nick Apollonio. His own music flourished at this time and although he already played the recorder, guitar, and cello very proficiently, in 1973 when he was 50 years old, he focused specifically on his violin playing and became an active member of a local community quartet. He loved and struggled with the violin (on occasion introducing it to the wood stove!) and played it well for all his remaining days.