Amelia Da Forno - Dahlias

Flowers as a subject in themselves began to appear in still lifes, a genre that emerged in the early 17th century. Subsequently, painters, especially the Impressionists, increasingly focused on the floral world as an extraordinary opportunity to capture vibrant colors and light. Thus, flowers began to appear not only in vases, but also immersed in their natural landscape. While initially a pretext for painters to attempt a photographic reproduction of reality, with contemporary art, the subject of flowers also becomes a way of interpreting reality.

This work highlights the artist Amelia Da Forno in Casonato's post-Impressionist maturity. The composition, whether a still life, a vase of flowers, or a landscape, is compressed into the foreground, allowing no spatial depth. The painter's aim is not to capture the sensory aspect of the subject, but to capture its very essence, its substance. To this end, the brushstroke, rich in texture, intervenes, fleshing out the objects, breaking them down into different planes, recording the vibrations of light and life within them. The sensory aspect, therefore, is completely transcended in a complex conception of pictorial practice in which the artist's gestures also play a fundamental role. In floral-themed compositions, from a purely aesthetic perspective, the composition resolves itself in a harmonious dialogue of chromatic zones. The dense brushstroke constructs each individual petal and the vase, with their respective luminous vibrations. The very material of the subject merges with the complexity of the space that contains it, which is also made of intense chromatic vibrations.

Amelia Casonato Da Forno (Nervesa della Battaglia 1878 – Conegliano Veneto 1969) worked as a skilled painter for over 40 years in Egypt, where she founded an art school in Cairo. As a young woman, after graduating from high school, she began studying at the Academy of Fine Arts in Venice. In the lagoon city, she fell in love with Diego Casonato, prompting the two young people to marry without their parents knowing. As a result, in 1902, they decided to flee to Egypt. A new life was built working for the Pashas and King Fouad. Amelia Casonato Da Forno participated in three editions of the Venice Biennale in the Egyptian Pavilion. She subsequently exhibited in London, Brussels, Genoa, Rome, Venice (Opera Bevilacqua La Masa), and annually in her native Egypt, in the cities of Cairo and Alexandria. In 1952, she decided to settle in Conegliano Veneto, becoming friends with the Fabris family.

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