Dyalma Stultus - Campaigns in the Chiati area

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.

Situated between Post-Impressionism and Divisionism, this work by Dyalma Stultus stands out for its execution based on excellent technical quality. Indeed, the painting displays a perfect naturalistic rendering and a precise recording of sensory data, all interpreted with an extraordinarily modern spirit. From a more conceptual perspective, we can appreciate how Dyalma Stultus's poetics unfolds in a lyrical celebration of the everyday. The countryside is exalted in a representation imbued with immediate and vibrant realism. Crucial in this sense is his adherence to the Post-Impressionist movements, so prominent in 20th-century painting schools. Formally, Dyalma Stultus's brushstrokes in this work are vibrant and dynamic, aimed at conveying the complexity of object perception on the canvas (which sometimes leads him to adopt a Divisionist technique). Finally, as regards chromaticism, Stultus stands out for a palette in which light and luminous tones prevail, through which he can create suggestive contrasts of light and shadow.

Dyalma Stultus (Trieste, 1901 – Darfo Boario Terme, 1977). Son of Erminia Stultus and Ralph Pacor, he enrolled at the Academy of Fine Arts in Venice thanks to a scholarship from the Municipality of Trieste. In 1922, he organized his first solo exhibition at Ca' Pesaro. He later moved to Trieste, then to Florence from the spring of 1927 to 1928, and to Rome, where, in 1931, he exhibited at the First Quadrennial. In 1930, 1932, and 1934, he exhibited at the Venice Biennale, as well as in group exhibitions in New York, Budapest, Baltimore, and Barcelona. In 1941, he moved permanently to Florence, where he taught at various institutions. In addition to being a painter, he was also a sculptor and draftsman.

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