Antonio Mattalia - Mimosas

Flowers as an independent subject 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 were depicted 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 became a way of interpreting reality.

Antonio Mattalia's poetics are genuinely realist, essentially grounded in the faithful reproduction of subjects from life. In this context, he relies on his excellent pictorial technique, which allows him to impeccably capture sensory information on the medium. Antonio Mattalia begins with a solid drawing structure, through which he characterizes his subjects with solid volumes that occupy a concrete space within a generally neutral background. The plastic qualities are enhanced by the almost geometric sense of form that characterizes this painter's work. Even in his application of color, Antonio Mattalia demonstrates a unique artistic sensibility. Without ever departing from his profoundly realist intentions, his brushstrokes are dynamic and vibrant, bringing objects to life. These are charged with luminous and atmospheric vibrations in a painterly style that allows for occasional forays into a more impressionistic style, while always maintaining the concreteness of a profoundly realist representation. Furthermore, Antonio Mattalia's application of color is also remarkably textured. The color thus emerges from the support, invading the third dimension and giving an even more realistic effect of the natural freshness of the flowers. The use of light is also excellent, in the distribution of shadows and the reflections of reflective surfaces.

Antonio Mattalia (1913-1995) was an artist deeply rooted in a mimetic conception of art. For Mattalia, painting meant recording sensory data as faithfully as possible. For this reason, his realist language was based on a remarkable pictorial technique that combined impeccable life drawing with a vivid and vibrant application of color. He was nicknamed "the mimosa painter" because of his favorite subject.

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