Alberto Ziveri - Cornfield

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the 16th century; and finally with the depiction of every single vibration of light on objects in Impressionism. In keeping with the aesthetic canons of the Roman School, of which Alberto Ziveri is one of the most important representatives, the landscape in this painting is minimal, intimate, the fruit of an exercise in pure pictorial vibration.

Alberto Ziveri can be considered one of the most important exponents of the pictorial traditions of the Roman School, the movement that, between the 1930s and 1940s, opposed the rigor and plastic exaltation of the Novecento to a style inspired by European Expressionism. A distinctive characteristic of the Roman School, as well as of Ziveri, is an elegant formal synthesis conducted primarily through color. In this painting, the Roman artist continues this approach with a pronounced abstraction of volumes, resolving the objects with a few brushstrokes. The landscape of the countryside, while still recognizable, is transformed in form by the painter's impetuous sensibility, which characterizes the depiction of profound vibrations that are atmospheric, yet also lyrical and existential. Unlike other painters of the Roman School, however, in Ziveri we note a more pronounced minimalism. Furthermore, in this artist, a prevalence of cold tones is common, compared to the warm colours that characterise exponents such as Mafai, Scipione or Quaglia.

Alberto Ziveri (Rome, 1908 – 1990). He was one of the representatives of the so-called Roman School, in which he held a special place; a creator of urban landscapes and scenes of charged and plebeian narrative realism, in which he employed an 18th-century chiaroscuro, he had his first solo exhibition in 1933, and in 1936 he exhibited at the Venice Biennale. In the postwar period, he tenaciously pursued his realistic research, with a substantially modern spirit. Among his most important works are the Nocturnes and Tram Stops series, Composition from 1933 (oil on panel), and Postribolo from 1945 (oil on canvas). In 1963-64, he exhibited at the exhibition Peintures italiennes d'aujourd'hui, organized in the Middle East and North Africa.

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