Amelia da Forno in Casonato - Untitled

The "Still Life" genre emerged in the early 17th century. It consisted of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with naturalistic or photographic reproductions of reality, with contemporary art, the "Still Life" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory element. The painting in question features a still life inspired by the theme of hunting.

From an analysis of this work, we can see how it is characterized by an artistic language that takes 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 registers chromatic and luminous vibrations, simultaneously infusing an unstoppable vital energy even in 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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