Etruscan - Untitled

The "Still Life" genre emerged in the early 17th century. It consisted of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with naturalistic or photographic reproductions of reality, with contemporary art, the "Still Life" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory aspect.

The painting exemplifies the formal purity that distinguishes Etrusco's still lifes, featuring perfect balance in both composition and color. In this specific case, one can see how the arrangement of the objects reveals a search for a harmonious relationship between them and the space in which they interact. The same goal is pursued by the color palette, all centered on brown tones that evoke a lived-in feel and reveal a precise atmospheric rendering.

The artist Fernando Baldi deliberately adopted the pseudonym "Etrusco" with the intention of reviving an ancient painting technique that had been widely used by that civilization, especially in tomb decoration. We're talking about encaustic, which involved mixing various pigments with wax. Etrusco revived this technique, using it on panels prepared with cellulose and vinyl. This allowed him to create his perfect still lifes, in which the encaustic technique allows him to achieve a seamless fusion between objects, endowed with material consistency, and densely atmospheric space.

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