Goliardo Padova - View of Parma

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the 16th century; and finally with the depiction of every single vibration of light on objects in Impressionism. For a painter like Goliardo Padova, whose style was strongly influenced by Lombard Chiarism, landscape was a privileged subject precisely because of the intrinsic possibilities offered by the use of light, which is central to the explorations of this pictorial conception.

In this work, Goliardo Padova displays some of his distinctive artistic traits. Chromatically, we find the immersion in light that characterizes his landscape work, and the urban landscape clearly displays the customary calligraphic touch, characteristic of a brushstroke technique. Everything is imbued with the same immaterial, two-dimensional consistency, typical of Goliardo Padova and other masters of chiaroscuro. His stylization, especially recurring in his urban views, is also typical: the buildings are constructed with thin lines that characterize them as fragile and delicate constructions. Indeed, everything is rendered light and diaphanous in the delicate chromatic balance created by the transfiguration of light. A light that often, as in this case, takes on a yellow and golden hue in Goliardo Padova.

Goliardo Padova was born in Casalmaggiore in 1909 and died in Padua in 1979. He studied under Guido Marussig at the Art Institute of Parma and later graduated from the Brera Academy. From 1931, he joined the Chiarismo movement. During this period, he exhibited his works at the Monza Triennale and at several editions of the Bergamo Prize. Due to his Jewish origins, he was deported during the war. Upon returning to Italy, he joined the Corrente group with Ernesto Treccani, adopting a surreal and informal style in the 1950s.

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