Critical texts, Italy, Milano, 04 March 2011
The work of Mario Sironi generally called "Cityscape" kept in the Pinacoteca di Brera (Milan), not yet dated with certainty (is considered that it is just next to the Italian outbreak of the war, so around the end of 1940, early 1941) presents the best artistic power of this remarkable painter.
Leaving aside his Fervenza to Fascism, which deals exclusively with the man, and examining the nature of an artist, Sironi expresses an unusual and disruptive language that goes beyond the mere forms to privilege the power of the stroke and paint.
The degradation of the paint material in the noblest sense of the expression creates the opportunity for a lift of matter and objects to the level of art as meditation realm of dramatic and creative power. In fact, Sironi season corresponds to a radical revolution in the twentieth century figurative research and more.
Must come to terms with these bleak walls, these leaden skies, these signs industrial degraded and degrading, these gorgeous colors and acid at the same time, these dark shadows. They are certainly memories of a dramatic background, which put the subject on a dark side, subject demarcated by signs of construction of black color in the use of which he is absolute master. Only now you notice the impressive work by Sironi, alas still underestimated for political reasons that have nothing to do with art.
The landscape in question is different from the urban landscapes of the late '10s, primarily for the colors that are more "natural", but speckled, earthy, stimulants, ie containing a mystery that contributes to the charm of the artist's mature painting.
In addition, the forms are treated with a hatchet, almost carved on the flat surface of the substrate and are the result of a formal culture exterminated.
Let's talk about the features that make his work instantly recognizable, even in metamorphosis over the years that follow. And 'certainly one of the high points touched by modern art. E 'fire that emanates from the painting, fire, plunging the scene in a dense fog that you can almost touch, while scanning the elements creates a syncopated rhythm that brings the viewer's gaze to the right, where a wretched hut genuflects the three chimneys similar to organ pipes worn out. The tracks that cross diagonally across the painting nevertheless create a link between the two fields they create, which is revealed in the intrusion of the second track in the fifth.
Within the scope of its production, are so many elements of everyday life is that of nature, but the adventure into the material leads to extreme limits, hang cyclically clarifies the principle that the whole work of Sironi: the search for expression, particularly noticeable when comparing identical features in different scenes. Never will one of them treated in the same way. The artistic sense is always caught in the middle, because in his work is never present the description of things, but an internalized interpretation of the same color and the drawing el'imporsi produce perfect blackened epidermis which covers the entire composition.
Shapes, sometimes elementary, a more complex architectural and expand across the surface at night revealing the change of tone or the scratched mark of the brush or spatula.
The color becomes negative light in a universe that involves the whole of our perception.
The reference of its aesthetic to be found in the great Italian artists of the fourteenth century - think of some landscapes "metaphysical" in the background of the religious subjects of the works of Giotto and Ambrogio Lorenzetti - fully subscribing to the postulates of art history and developing a catalog of expression made of layers, thickened, scaling, universes of matter.
In a single grand vision, in short, Sironi emblematic object created and used items, becoming a pioneer and one of the highest representatives of the Expressionist school that has spanned the centuries and go through the history of painting as an art form.
Leaving aside his Fervenza to Fascism, which deals exclusively with the man, and examining the nature of an artist, Sironi expresses an unusual and disruptive language that goes beyond the mere forms to privilege the power of the stroke and paint.
The degradation of the paint material in the noblest sense of the expression creates the opportunity for a lift of matter and objects to the level of art as meditation realm of dramatic and creative power. In fact, Sironi season corresponds to a radical revolution in the twentieth century figurative research and more.
Must come to terms with these bleak walls, these leaden skies, these signs industrial degraded and degrading, these gorgeous colors and acid at the same time, these dark shadows. They are certainly memories of a dramatic background, which put the subject on a dark side, subject demarcated by signs of construction of black color in the use of which he is absolute master. Only now you notice the impressive work by Sironi, alas still underestimated for political reasons that have nothing to do with art.
The landscape in question is different from the urban landscapes of the late '10s, primarily for the colors that are more "natural", but speckled, earthy, stimulants, ie containing a mystery that contributes to the charm of the artist's mature painting.
In addition, the forms are treated with a hatchet, almost carved on the flat surface of the substrate and are the result of a formal culture exterminated.
Let's talk about the features that make his work instantly recognizable, even in metamorphosis over the years that follow. And 'certainly one of the high points touched by modern art. E 'fire that emanates from the painting, fire, plunging the scene in a dense fog that you can almost touch, while scanning the elements creates a syncopated rhythm that brings the viewer's gaze to the right, where a wretched hut genuflects the three chimneys similar to organ pipes worn out. The tracks that cross diagonally across the painting nevertheless create a link between the two fields they create, which is revealed in the intrusion of the second track in the fifth.
Within the scope of its production, are so many elements of everyday life is that of nature, but the adventure into the material leads to extreme limits, hang cyclically clarifies the principle that the whole work of Sironi: the search for expression, particularly noticeable when comparing identical features in different scenes. Never will one of them treated in the same way. The artistic sense is always caught in the middle, because in his work is never present the desc
Shapes, sometimes elementary, a more complex architectural and expand across the surface at night revealing the change of tone or the scratched mark of the brush or spatula.
The color becomes negative light in a universe that involves the whole of our perception.
The reference of its aesthetic to be found in the great Italian artists of the fourteenth century - think of some landscapes "metaphysical" in the background of the religious subjects of the works of Giotto and Ambrogio Lorenzetti - fully subscribing to the postulates of art history and developing a catalog of expression made of layers, thickened, scaling, universes of matter.
In a single grand vision, in short, Sironi emblematic object created and used items, becoming a pioneer and one of the highest representatives of the Expressionist school that has spanned the centuries and go through the history of painting as an art form.
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