Fernando Troso - Apulian Countryside

The subject falls within the genre scene category, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones. Typical of Fernando Troso's work are iconographic themes related to country life and peasant labor. The everyday life expressed by these subjects is, however, sublimated in this painter's highly original style.

Fernando Troso's aim is to lyrically and spiritually elevate the depiction of everyday country life. For this reason, his works are characterized by a minimalist language, where small figures move in a decontextualized and rarefied space. This minimalism, which almost reduces reality to an informal representation, strips the subjects of illusionistic descriptive frills, revealing their purest essence. Thus, rural reality is sublimated into a higher dimension, made up of primary values. Formally, Fernando Troso's style is distinguished by certain peculiarities. First and foremost, the synthetic brushstroke that delineates objects with a few rapid strokes. But above all, it is the application of color that fuels the sublimation of reality into an ethereal and rarefied world, thanks to a light and vibrant atmosphere, with delicate tones. In Troso's minimalism and soft chromaticism we can find a profound influence from Umberto Lilloni, so much so that the Apulian painter is also counted among the most important representatives of Chiarismo.

Fernando Troso was born in Lecce in 1910 and died in Rome in 1990. After learning the art of sculpture and papier-mâché in his father's workshop, he moved to Rome at a young age, where he found work as a stonemason. Around 1930, he began painting, and in 1934, he held his first solo exhibition in the capital. He was invited to the Rome Quadrennial in 1948 and the subsequent one in 1952; in 1956, he participated in the Venice Biennale. A Chiarista painter with delicate tones, he favored bucolic themes, painted in a rarefied atmosphere. His numerous still lifes, predominantly consisting of bouquets of flowers, are always painted in light tones, a strong characteristic of his artistic output, making it easily recognizable. Critics consider him one of the greatest Italian Chiaristas, along with Lilloni and Spilimbergo.

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