Gigi Arcangioli - Old Milan, Porta Romana Bridge

The urban landscape was already a popular subject in the Middle Ages and the Modern Age, 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, the crowds, the traffic, and typically bourgeois settings. In this cityscape by Arcangioli, the everyday aspect prevails, the frank and sincere realism of everyday life in a city setting. Human presence is not contemplated, and the artist lets the buildings and objects speak for themselves, protagonists of a direct narrative, unfiltered by idealization.

Gigi Arcangioli'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 the city's 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 brushstrokes charged with atmospheric vibrations. Light thus reverberates on objects, but without interfering with the precise description of reality, and the artist can modulate, with great naturalism, the shadows that appear on the walls and the reflections on the Naviglio Canal. Gigi Arcangioli's sincere realism is also expressed in his choice of a compositional structure made of clean lines, in diagonals that converge toward a precise vanishing point, revealing the artist's careful study of reality and a highly rational mind. His palette is composed of light, delicate hues that avoid any pictorial excess.

Artist Gigi Arcangioli was born in Livorno in 1907. He is distinguished by his simple and direct style, which embodies a genuinely realistic approach to art. In his work, sensory information is not idealized but rather reproduced as it is in reality. For this reason, his figurative language draws on life-like reproductions but is distinguished by a certain impressionistic touch that brings a lively and immediate quality to the representation.

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