Attilio Alfieri - Farmer from Loreto

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

This work by Attilio Alfieri exemplifies the breadth of his easel work, characterized by a thoroughly post-Impressionist style, with a powerful aesthetic and emotional impact. First and foremost, he achieves a remarkable synthesis of his subjects, but this synthesis occurs through color. Consequently, brushstrokes are crucial: the broad, thick brushstrokes acquire a profound structural value, identifying the volumes of the objects. The thick black lines that traverse the subject, in addition to defining deep shadows, also have a uniquely existential value. Furthermore, color transfers chromatic vibrations to the canvas, fleshing out the life forms. Alfieri's palette, especially in these portraits of popular subjects, is distinguished by brown and earthy tones.

Attilio Alfieri was born in Loreto in 1904. He began working as a fresco painter and decorator and in 1923 moved to Milan, where he passed away in 1992. In Milan, Alfieri completed his training by attending evening classes at the Brera Academy and the Sforza Castle. His close association with Birolli, the Chiaristi, and the Corrente group was crucial. His first solo exhibition was held in 1934 at the Circolo Filologico in Milan. He participated in various editions of the Rome Quadriennale, the Venice Biennale, and the Bergamo Prize. In 1939, he became a professor of Fresco and Decoration at the Scuola Unitaria in Milan.

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