Elvio Marchionni - Motherhood

The iconography is inspired by the subject of the Madonna and Child, offering a classicist interpretation. The artistic language draws inspiration from classical antiquity, both Greek and Roman, as well as its revival during the Renaissance. All this translates into an execution whose primary goal is mimesis, that is, the human need to imitate and reproduce nature, that which surrounds us. Along with naturalistic rendering, the other fundamental concept, according to the parameters of Classicism, is the unity of the work of art, through a harmonious correspondence between all its parts.

In this painting, Marchionni draws inspiration from Renaissance art not only for the thematic choice but also for the interpretative approach. In addition to seeking a perfectly naturalistic rendering of the subject, the artist creates a perfectly proportioned and calibrated composition. The expansive volumes and monumentality of the Madonna's figure, as well as the plastic connotations of the Child and the putti, indicate a revisitation of sixteenth-century painting. In particular, as we can see from the clearly defined anatomy beneath the robes and the sweetness of the faces combined with the grace of the sentiments, Raphael appears to be the main source of inspiration for this painting. The pictorial interpretation, then, deliberately introduces a patina of antiquity, as if the work were a torn fresco bearing the signs of Time on its surface.

Painter born in Spello in 1954. His entire artistic research is grounded in the recovery of memories and emotions from the past. His paintings appear like fragments of torn frescoes, references to 15th-century Umbrian painting, of which Marchionni is a great connoisseur. His sculptures presuppose a study of Renaissance harmony and proportion. However, this process of recovering memory merges, in Marchionni, with a careful exploration of artistic language in relation to a contemporary sensibility.

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