Art in the city

However, they are also works that, the curators explain, "attest to a modern use of light, conducted through intense contrasts of chiaroscuro, which until now the painter had used to increase the narrative involvement and sense of truth in episodic historical-literary or in studies of urban architecture, but which now connote the relevance of a vision of the landscape observed in the open air, before the usual reworking in the studio. This romantic image of the city is the one that, at the time...

There is also a further consideration that accompanies the relationship between Signorini and Florence: the reflection on their link with the city writes the curator, "favors the analysis of the figurative sources at the origin of the formation, as well as suggesting an evaluation of the urban theme so investigated as to become identifiable. It is also research that, emphasizes Elisabetta Matteucci, "could not overlook the influence of the city in the social sphere. All of these themes are examined...

Review of the exhibition "La Firenze di Giovanni e Telemaco Signorini". In Florence, Palazzo ANtinori, from 19 September to 10 November 2019. The discovery, in 2008, of an important correspondence between Telemaco Signorini (Florence, 1835 - 1901), one of the main painters of the second Ottocente and the leading name of the Macchiaioli movement, and his father Giovanni (Florence, 1810 - 1862), a leading artist of the Lorraine court just before the unification of Italy and a landscape painter (and...

In his description of Lorenzo's technique, Vasari appreciates the smoothness and impeccable finesse of the surfaces, but he does not hide a certain intolerance for the painter's slowness and fussiness, and for his specialism: I remember that Lorenzo only worked as a draughtsman and as a painter on wood, preferring the small size. But it goes without saying that Vasari felt far from a sort of meditas crediana, or rather an orientation that tended to choose moderation and sobriety, with respect to complication and excess...

Gigetta Dalli Regoli, an important name among the international experts in Renaissance art, points out a novelty for Lorenzo di Credi: a round of Portinari's commissions re-emerged after decades of losing track of it. The table measures just over 90 centimetres in diameter, and this data is already positive, since the rounds belonging to Lorenzo di Credi's early work are of similar dimensions; but in any case the reference to the painter is quite easy, since the composition, which is very simple,...