Amelia Da Forno - Flowers

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 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. In this vase of flowers, Amelia Da Forno uses a more pronounced synthesis, taking Impressionism to its extreme, seeking to evoke images through a lyricism of memory. Amelia Da Forno in Casonato is a true master of color, capable of infusing life into her subjects with a single brushstroke. Her touch is cursive, yet at the same time rich in vibrations and existential thrills. In this sense, Amelia Da Forno in Casonato's evolution of Impressionist technique should be interpreted as the poetry of life. Each brushstroke records chromatic and luminous vibrations, infusing, at the same time, an unstoppable vital energy even into a static subject like a still life.

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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