Emilio Contini - Dry Trees in the Monteacuto dell'Ape Forest

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 16th century; and finally with the depiction of every single vibration of light on objects in Impressionism. Emilio Contini focused his research on the subject of landscape, through which he defined his own original style, somewhere between realism and expressionism.

The landscapes of artist Emilio Contini present a perfect fusion between the naturalistic rendering of the view and its lyrical interpretation. Indeed, Contini's language is firmly grounded in reality, in the recording of sensory data, which the artist depicts with precision and a certain exaltation of the objects' plasticity. However, Contini always combines this concreteness with more synthetic and cursive pictorial passages, relying on the expressive potential of a more gestural approach. Thus, the concrete elements of Nature are inserted into a profoundly lyrical dimension, which enhances the emotion and spirituality derived from their contemplation. Contini's subtle expressionism is also fueled by his palette, composed of hues that respect the truth of things but, at the same time, are charged with an unnatural light and brilliance, intended to enhance the magic of the landscape view.

Emilio Contini was born in Puerto de Santa Maria, Spain, on May 26, 1930. He studied in Bologna, first at the Art Institute and then at the Academy of Fine Arts. He studied painting under Virgilio Guidi and engraving under Giorgio Morandi, graduating in 1952. Director of the Academy from 1985 to 1989, he held a professorship in painting until 1999. He alternates his work as a painter with that of an engraver; he is also involved in art criticism.

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