Dino Migliorini - Untitled

The urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.

In a series of works, we can appreciate how Dino Migliorini draws even closer to the teachings of Ottone Rosai. The urban landscape becomes essential and rational, devoid of detail, in a composition focused on creating a balanced interplay of forms. In this work, we can further understand Migliorini's reference, filtered by Rosai, is Quattrocento Florence, as seen in the harmony of the colors, the subtle chromaticism that characterizes the entire surface of the work. The exaltation of plastic and chromatic values ​​transfigures the landscape into a frozen atmosphere, yet enlivened by a nuanced application that creates subtle existential vibrations.

Dino Migliorini was a painter originally from Rignano, where he was born in 1907 and passed away in 2005. He trained as an artist in Florence. Having moved to the Tuscan capital in 1924, he became an illustrator for the Nuovo Giornale newspaper and associated with Ardengo Soffici and Ottone Rosai. His first solo exhibition was also held in Florence. In the 1950s, his fame spread beyond the region and throughout Italy, with over 100 exhibitions, consistently acclaimed by critics and the public.

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