Giorgio Morandi - Still Life

The "Still Life" genre emerged in the early 17th century. It consists of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to attempt a photographic reproduction of reality, with contemporary art the "Still Life" also becomes a way of interpreting reality, as it did for the Cubists or Giorgio Morandi.

Looking at Giorgio Morandi's still lifes is essential to understanding the meaning of his research. Morandi seeks to capture the true essence of things (the noumenon) on canvas, but he does so without departing from the sensory reality (the phenomenon). For this reason, he engages in a profound process of reflection on objects, seeking to capture their most vivid image. In this process, the painter is aided by the light that bathes the composition, leading the artist to implement a process of reducing objects until their true essence remains. What remains is an almost diaphanous yet extremely alive and dynamic image, shaken by genuine existential (as well as luminous) vibrations. Another fundamental element in Morandi's still lifes is the formal perfection and balanced composition, which hark back to the great tradition of Italian painting.

Giorgio Morandi was one of the leading exponents of twentieth-century Italian painting. Born in Bologna in 1890, he died in 1964. He lived for many years in his home on Via Fondazza, before moving to his summer residence in Grizzana in 1960. He trained at the Academy of his city and, from a young age, had been reflecting on Cézanne, Derain, and Picasso. But Morandi also looked to the past, to Giotto and Masaccio. Initially, he was drawn to the Futurists, then participated in the Experiment of Plastic Values. He later embarked on his own unique path, seeking the essence and reality of things. His breakthrough came in 1939 with a solo exhibition at the Rome Quadriennale.

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