Cesare Andreoni - On the Adda

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 always been an artist's aspiration. 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 16th century, up until the depiction of every single vibration of light on objects in Impressionism.

In this landscape, Cesare Andreoni displays an approach closer to his own cultural context, which for much of his career was Futurism. Indeed, in this view, we note the painter's firm desire to move away from a post-Impressionist representational mode. The surfaces are compacted, and the subjects' contours are sharp. With deep shadows, as we see on the boat or the mountains, the artist emphasizes the volumes. In short, a process of mechanomorphization of phenomenal reality is underway. The world is reconstructed geometrically, in keeping with a fundamental approach of the Cubist and Futurist avant-gardes.

Cesare Andreoni was a Milanese artist born in 1903 and died in 1961. He was deeply connected to the cultural climate of his time. Through his association with Filippo Tommaso Marinetti, he joined Futurism, participating with the group in the Rome Quadrennials and the Venice Biennials. In 1931, he participated in the Aeropittora and Scenography exhibitions in Pesaro. In 1934, he signed the Manifesto of Futurist Mural Plastic. In 1941, his solo exhibition was presented by Marinetti. In addition to painting, Cesare Andreoni devoted himself assiduously to advertising and publishing.

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