Filippo Anivitti - Untitled

The subject of the urban landscape was already present in the Middle Ages and Modern times, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It is worth remembering that immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenzy of the city, the crowds, the traffic, and typically bourgeois settings. In Filippo Anivitti's city views, as in the present work, the everyday aspect prevails, the frank and sincere realism of everyday life in a village setting. The subject of this work is very recurrent in this painter's output: it features a realistic view of the Piazza di Spagna combined with a vibrant floral polychrome, provided by the stall in the foreground.

Filippo Anivitti's style presents a perfect fusion of realism and a delicate impressionistic rendering of sensory details. On the one hand, the artist precisely describes the view in all its details, with a strong sense of urban reality and the everyday life of simple life. On the other, his refined painting technique allows him to convey a sense of immediacy to the canvas, thanks to rapid brushstrokes charged with atmospheric vibrations. Light thus reflects on objects, but without interfering with the precise description of reality. The entire view is thus characterized by a clear luminosity that is revealed, by contrast, in the play of shadows. The use of a palette of soft and delicate colors also serves this purpose. However, in these views, typical of Anivitti, it is especially in the depiction of the flowers that the artist reveals his impressionistic influences. They are created as an intense vibration of light and color.

Filippo Anivitti (Rome, December 4, 1876 – Rome, August 4, 1955). He studied at the Academy of Fine Arts in Rome with Filippo Prosperi until 1899, subsequently attending Alessandro Morani's evening classes at the Istituto Artistico Industriale. Early in his artistic career, he gravitated toward Divisionism, an uninteresting phase in his pictorial career but one that helped him hone his sensibility and his relationship with color. His association with Onorato Carlandi introduced him to landscapes and life painting. His favorite subjects soon became Rome, with its more or less well-known views, the Roman countryside with the Pontine Marshes, and the ruins of ancient Rome. He fully joined the group of Watercolorists, a technique perfectly suited to him. He handled oils only marginally, although when he did use them, he achieved excellent results with good technique and a speedy, pleasing execution, similar to that of watercolor. Encouraged by Morani and Carlandi, he joined the XXV della Campagna Romana, nicknamed "bear" for his measured and sober manner of speaking. He exhibited at all the Roman Biennials and Quadrennials and organized several solo exhibitions. Many of his paintings are in private galleries in Italy and abroad, and among his buyers was Vittorio Emanuele III.

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