Elvio Marchionni - Tear 586

The work exhibits a pursuit of naturalism typical of the Italian Renaissance and other classicist movements. One of the most important concepts in the history of artistic production, in fact, has been that of "mimesis," or the human need to imitate and reproduce nature, that which surrounds us. Nature refers to everything that can be grasped through the five senses—in short, phenomenal reality. Figurative and naturalistic trends in art can be considered those that, in the representation of the world, adhere most closely to this objective and sensorial dimension, leaving little room for abstraction and subjective interpretation.

Artist Elvio Marchionni's work has always aimed at a conscious and personalized revival of the tradition of Italian painting. In this case, we are in the midst of the 15th-century atmosphere, in a work in which the two female subjects display a grace typical of contemporary Umbrian painting, yet also draws on the more ethereal Pre-Raphaelite reworkings of the 19th century. A Peruginesque grace, then, which Elvio Marchionni's mastery of imitation techniques manages to combine with an elegant and characteristic antique patina.

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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