Crescenzo del Vecchio - Women on the Grass

The work can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered equally important as historical or religious ones. The Impressionists, in particular, favored subjects related to modern life in urban, bourgeois settings. More specifically, Crescenzo Del Vecchio's artistic production often focuses on an investigation, conducted along the lines of existentialism and the analysis of human relationships, of a bourgeois world, captured in the daily routine of its gestures and rituals.

Crescenzo Del Vecchio's pictorial language is not intended to be an objective representation of reality (whether a scene from everyday life or a landscape), but rather to draw out the expressive potential of that reality. For this reason, his style is closer to an interpretation that is simultaneously Symbolist and Abstract Expressionist. Thus, compositionally, the drawing almost disappears (revealing only in faint graphic traces), leaving room for the expressive potential of color. The painting relies on a gestural and material technique that energetically synthesizes sensory data, and the palette is charged with hues to enhance the symbolic value of the scene. In this case, an electric, fluorescent green resonates with the artist's entire perception. Every spatial-temporal law is overridden in the simultaneity of the representation, where elements overlap.

Crescenzo Del Vecchio Berlingieri, one of the most famous artists from Sannio, was born in Baselice in 1937 and passed away in 2006. He taught decoration at the Brera Academy and, after several important exhibitions in Naples, Rome, and Milan, won the Michetti Prize in 1972 and the Pettenon Prize in 1972 and 1974. He was among the promoters of Proposta '66 and Gruppo Studio P. 66, with whom he participated in numerous exhibitions. In 1976, he participated in the Venice Biennale with an exhibition curated by Enrico Crispolti. Present at numerous Triennials and Quadrennials, he later emerged on the international art scene with exhibitions in Stuttgart, Paris, and Chicago, respectively at the Galerie Senatore, the Levine Gallery, and the Bianca Pilat Contemporary Art Gallery.

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