Aligi Sassu - Horses of the Sun

Aligi Sassu stands out for his strong artistic expressiveness. Involved in numerous artistic movements, his painting and drawing style is characterized by a unique, dynamic style that perfectly matches his personality. His sense of color and bold compositions developed at a young age through exposure to the Futurist masters, proponents of a modern style of painting that embodied speed. This influence undoubtedly served as a foundation for his art, which over time increasingly drew closer to Expressionist and Classicist painters. His stay in Paris in 1934 contributed to this pictorial reinterpretation, moving toward a reality that conveyed emotions and moods. It is precisely this ability to blend diverse artistic experiences that gives the artist the unique skill to express his art. The work features two horses as its main subject, a symbol of freedom, strength, and grace that connects man and nature. These characteristics, along with the concept of speed, perfectly complement the subject. Aligi Sassu's style, also thanks to the bas-relief technique, creates depth and volume. The theme and the design reveal themselves in their simplicity and purity, in the ability to maintain clarity despite the dynamism created by the drawing. In his drawings, Sassu uses strong, decisive lines that imbue the forms with energy and dynamism, aspects drawn from his Futurist training. Sassu's technical prowess acknowledges a sensitivity to pictorial detail, combining his contemporary essence with a deep-rooted tradition. Dynamic lines cut across the ground where the hooves of the restless horses beat, while light emanating from the background caresses the animals' thick manes, animated by impetus and power.  Aligi Sassu (1912 - 2000) was an Italian painter, sculptor, and ceramist, distinguished by his stylistic variety. In painting, his efforts were primarily focused on the representation of movement and the dynamism of figures, which is why the subject of the horse or man on horseback was always congenial to him. In the late 1970s, he and Bruno Munari drafted the pictorial manifesto "Dynamism and Muscular Reform," which called for a return to anti-naturalistic forms in a dynamic sense. Much of his painting, moreover, was inspired by Delacroix and his battles.

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