Aligi Sassu - Venus

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the ultimate expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also been a central theme in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism.

Even in this sculpture, a static element by definition, we see a different approach than Aligi Sassu's, which often focused on the expression of dynamic and uncontrollable forces. This sculpture, instead, demonstrates the artist's interest in the synthesis of form. The female subject undergoes a reduction of her anatomy and physiognomy, and this operation is conducted in a rigorously Expressionist manner. Indeed, the synthesis of the subject is conceived to create a curvilinear and sinuous compositional rhythm, tautly vertical, whose primary reference is the Expressionist avant-garde of the first half of the 20th century.

Aligi Sassu, born in Milan in 1912 and died in 2000, was a painter and sculptor. His painting focused primarily on the representation of movement and physical strength, which is why the subject of a 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, is inspired by Delacroix and his struggles.

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