Attr. to Vittorio Avondo - Two Works

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

This pair of works, attributed to Vittorio Avondo, presents a perfect fusion of realism and a delicate impressionistic rendering of sensory details. On the one hand, the artist precisely describes the view in all its details, with a strong sense of the landscape's reality and the everyday life of simple life. On the other, the refined painting technique he employs allows for a sense of immediacy in the representation, thanks to rapid brushstrokes charged with atmospheric vibrations. Light thus reverberates across the objects, yet without interfering with the precise description of reality. The entire view is thus characterized by a clear luminosity that is revealed, by contrast, in the play of shadows. The use of a palette of soft, delicate colors also serves this purpose.

The pair of works has been attributed to Vittorio Avondo, a Turin painter born in 1836 and died in 1910. He devoted himself to painting from a young age, training in Italy, Switzerland, and France. After returning to Piedmont, he became a consultant to the City of Turin and, from 1863, served on the commission responsible for selecting works for the Civic Museum's collections. He enjoyed a wide range of activities: painter, antiques dealer, city councilor, and member of numerous cultural institutions. In 1872, he purchased Issogne Castle, which he restored and refurnished with the help of Alfredo d'Andrade and Giuseppe Giacosa. From this experience, he collaborated, starting in 1882, on the construction of Turin's medieval village and, with Emanuele Tapparelli d'Azeglio, on the restoration of Casa Cavassa in Saluzzo. In 1890, he succeeded Tapparelli d'Azeglio as director of the Civic Museum; upon his death in 1910, his personal collection passed to the Museum.

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