Elvio Marchionni - Untitled

Known above all for his torn frescoes and references to painting
fifteenth and fourteenth century, in this work Elvio Marchionni shows
knowing how to draw inspiration from other sources as well. This painting,
in fact, it is part of a series that sees its main model in painting
sixteenth-century, particularly from the Veneto region. As usual, however,
in the production of the artist from Spello, the source taken from the past is
reworked by his fertile contemporary sensibility, so much so that it can be
to affirm that the true subject of Marchionni's artistic production is the
same suggestion as the ancient one.

The work is a rare example of a totally pictorial work by Elvio Marchionni,
which always finds reference in a deep classical inspiration and which refers back to
to Renaissance aesthetics in a citational manner. In particular, this
work exalts the aesthetic values ​​of the mature, sixteenth-century phase of the
Renaissance and the master he seems to look up to most is Titian.
In fact we find the same sensual grace, but also the same monumentality
of the painter from Cadore. This entire citationist operation is conducted
by the artist with a great executive technique, recognizable in the complexity
of the brush stroke and in the definition of volumes and light, which makes his
unique works.

Elvio Marchionni is a painter born in Spello in 1954. All his research
artistic is based on the recovery of memory and emotions of the past.
His paintings appear as fragments of torn frescoes, quotations from the
fifteenth-century Umbrian painting of which Marchionni is a great connoisseur.
His sculptures presuppose the study of harmony and proportions
Renaissance. However, this path of memory recovery merges, in
Marchionni, to a careful research on the artistic language towards a
contemporary sensibility.

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