Elvio Marchionni - Motherhood - Motherhood - Prayers

The canvases are respectively of the following dimensions:

• 25x35
• 45.5x69.5
• 27x78.5

The first two works are inspired by the subject of the Madonna and Child, while the third is a composition of female figures, which Marchionni always creates with 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, our surroundings. 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 the conception and execution of his works, Elvio Marchionni consistently favors compositions inspired by the great tradition of Italian Renaissance and late Gothic painting, but with a markedly classicist bent. The artist thus implements a typically fifteenth-century philological operation, consisting of the archaeological recovery of themes from classical Greek and Roman art. His interpretative approach also displays a pronounced plasticity inserted into a Brunelleschi-esque perspective, drawing inspiration from the research of Piero della Francesca, Paolo Uccello, and Mantegna. Marchionni, however, reworks the model, working primarily on the patina of antiquity, artfully producing the very degradation of the work, which enhances its allure and value. Furthermore, in his citations, which hark back to the fourteenth and fifteenth centuries, he introduces a strong element of contemporaneity into his complex and ambiguous spatial conception, which references Cubism, and into the metaphysical abstraction that distinguishes his subjects. 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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