Alessio Paternesi - Don't Make Her Unhappy

The iconography of this work certainly has allegorical meanings and can be defined, in some ways, as Symbolist precisely because of its allusion to underlying meanings. It is a type of subject matter that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, while using a primarily figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references. Along with his sculptural production, artist Alessio Paternesi also produced a series of Symbolist works inspired by an allusive and rarefied reality.

While remaining consistent with his figurative language and his exploration of formal values, Alessio Paternesi adopts a more expressionistic approach in this work. The subjects are more concise and essential, and the plastic component that characterizes his sculpture is absent. The color is applied in compact areas reminiscent of Gauguin's cloisonnism, delineating the forms with few strokes of color. Drawing is kept to a minimum, used only to outline the figures with a few iconic strokes. From a chromatic perspective, the preference for neutral colors prevails.

Alessio Paternesi, painter and sculptor. Born in Civita Castellana in 1937, he immediately joined the innovative movement of painters and sculptors that, around 1960, developed strong ties with the national art world from his small Lazio town. It was around this time that Paternesi began frequenting the Roman studios of Afro, Franchina, and Guttuso. As early as 1959, he was invited to participate in the eighth edition of the Rome Quadrennial, while in the same year, along with several other painters and sculptors from Viterbo, he founded the Viterbo and Tuscia Cultural Association. When the Il Traghetto gallery in Venice organized his first solo exhibition in August 1967, Alessio Paternesi had a more than respectable resume behind him and his painting was a sort of mix between neo-cubism and naturalistic realism, in which, through the extensive use of broad areas and contrasting color movements, formal and plastic interests intersect.

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