Gregorio Sciltian - Untitled

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the ultimate expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also played a leading role in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism.

This document is extremely interesting and important because it sheds light on a previously unseen and original aspect of the artist Gregorio Sciltian. Indeed, we can see how in this drawing, the renowned master of hyperrealism also displays a truly lively expressionistic verve. Although the main subject of the drawing is a study of the nude, the entire composition is interpreted in a grotesque manner, with satirical overtones on society and the artist himself, reminiscent of the biting irony of German New Objectivity or even the work of our own Franz Borghese. From a formal standpoint, it is extremely interesting to note Sciltian's fluid drawing style, which, with sinuous lines, elegantly deforms bodies, elongating or tapering them with remarkable naturalness.

Gregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.

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