Franco Summa - Houses

The urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, 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 frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.

In this painting, Franco Summa reveals his connection to the historical avant-garde. The overall structure of the painting shows strong similarities to Matisse and Fauvism, due to the extreme synthesis of the house's subject and the predominance of strong, aggressive color tones. On the other hand, the entire spatial organization exhibits a typically Cubist decomposition; the space is deconstructed according to multiple directives, and a complex intersection of planes composes the painting's surface. The serial and geometric arrangement of the subjects on different levels of depth generates a multifaceted and multifaceted surface.

Franco Summa (Pescara, 1938 – 2020) was an Italian artist and architect. Active since the 1960s, he was a leading figure in Italian contemporary art. His career, developed through research in environmental and social art, is characterized by the symbolic use of form and color, exploring the relationships between humans and urban space. From the second half of the 1960s, his art found a specific field of action in urban spaces, creating numerous temporary and permanent environmental works. Among these, a class action promoted in 1974 in Pescara's Piazza della Rinascita in favor of the "no" vote in the referendum on divorce, and Un arcobaleno in fondo alla via (A Rainbow at the End of the Street, 1974), created at the Church of Sant'Agostino in Città Sant'Angelo, which became the subject of a legal dispute by several Catholic associations, were controversial; Giulio Carlo Argan, his professor at Sapienza University, and his friend Alessandro Mendini have come out in defense of Summa's work.

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