Eugenio Degani - Landscape

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 sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

The work is a clear example of an expressionist landscape. Reality is interpreted in an extremely synthetic manner, with an almost extreme exercise in reduction. The surface is completely two-dimensional, with no allowance for spatial depth. The artist draws on the reality of an urban landscape, but this is completely transfigured in a composition that plays with the effects of light and shadow. Indeed, we can only glimpse the outline of the buildings, immersed in the twilight of evening. This creates a striking contrast with the vivid light of the sky. This contrast is also reflected in the composition, which uses compact chromatic areas for the houses, while the depiction of the sky displays a more agitated gesturality. We can see how Degani, in conceiving this work, was influenced by technology, by the contrasting effects of light found in a photograph. The unusual framing of the scene should also be viewed in this light.

Eugenio Degani was a Veronese painter, born in 1923 and died in 2000. He trained under the guidance of Maestro Trentini at the Cignaroli Academy. In the 1950s, he collaborated with Giuseppe Marchiori and Renato Birolli. In 1951, he participated in the Verona Biennale and in 1955 in the Rome Quadrennial. He became known especially in 1957 thanks to the traveling exhibition "Young Italian Painting," which visited foreign cities such as Moscow, Prague, Budapest, and Sofia. In 1961, he moved to Paris, where he came into contact with the School of Nice and the Nouveau Réalisme movement through his acquaintance with Arman.

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