Alfredo Fabbri - In Molise

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 sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

In keeping with his pictorial research, artist Alfredo Fabbri creates a landscape in this work that can be described as fully expressionist. Reality is interpreted in an extremely synthetic manner, with a remarkable reduction of sensory data. The representation is resolved entirely through color, whose application plays a clear structural role in arranging itself across different levels and reconstructing a complex space. The color is very full-bodied, and this characteristic allows Alfredo Fabbri to explore the volume of objects even within a substantially two-dimensional surface. Compositionally, the painting is resolved through overlapping horizontal layers of color, where the contrast of the intense green of the lower section with the purplish blue of the upper section produces a suggestive play of light. The palette far transcends phenomenal reality to acquire a distinctly spiritual significance.

Alfredo Fabbri was a painter from Grosseto, born in 1926 and died in 2010. In the early 1950s he moved to Pistoia and, frequently visiting Florence, met and frequented Ottone Rosai, Ardengo Soffici, and Alfiero Cappellini, artists who were fundamental to his development. In 1954 he held his first solo exhibition in Grosseto, while the following year he exhibited some of his works at the VII Quadriennale in Rome. In 1957 he exhibited at the Lyceum with Conti, Capocchini, and Colacicchi, and one of his works was purchased and entered the collection of the Galleria d'Arte Moderna in Palazzo Pitti. The 1960s began with an intense exhibition activity in public and private galleries and he participated in numerous international exhibitions: Burgdof (Switzerland) (1966), Paris (1968), New York (1969). In 1988 he illustrated the Suite parigina by the poet Piero Bigongiari: the 1980s were indeed characterised by an intense graphic activity which became decisive due to a lesser attention to realistic painting.

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