Tullio Alemanni - Girl on an Armchair

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

In his pictorial work, artist Tullio Alemanni stands out for his truly excellent formal quality. This can be seen in the many portraits he has created, in which, despite the diversity of subjects, a profound sense of naturalistic rendering, interpreted in a modern key, remains constant. Indeed, although his capture of facial features is impeccable, almost photographic, Alemanni avoids any attempt to idealize the subject. For this reason, his characters are imbued with a real vitality, born of the genuineness of their gestures, their sometimes almost casual poses, and the profound existential vibrations he manages to convey through his painting. Indeed, Tullio Alemanni's pictorial style is distinguished by its great complexity and a modern sense of naturalistic rendering. His linework is fluid and, in some cases, more synthetic, achieving a truly realistic and therefore living dimension to the human figure.

Tullio Alemanni was born in Acqiaro in 1897. He graduated from the Accademia Albertina in Turin and, in the late 1920s, embarked on an intense artistic career, primarily in Piedmont and Lombardy. He died in 1983 in Ivrea. Among his most important works are the chapel of the Cardinal Cagliero Salesian Institute, with its frescoed apse and large canvases on the walls, as well as the paintings that form the backdrop to the baptismal font in the church of San Maurizio, also in Ivrea.

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