Lello M. Barresi - Roofs

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 sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

From an analysis of this work, we can understand Lello Barresi's conception of landscape painting. He maintains a connection with the description of sensory data, of what he sees and perceives through his senses, but everything is transfigured according to a rigorous compositional logic. Indeed, the artist reconstructs the sensory world not according to a naturalistic principle of imitation, but according to a geometric spirit. Thus, even the picturesque corner, the small hamlet of houses, is reduced to a precise system of vertical and horizontal lines. In this way, the volumes of the objects are delineated with great clarity, demonstrating the artist's keen sense of geometry. In this rational approach, everything appears static, in a sort of magical, metaphysical immobility. In terms of pictorial application, however, Lello Barresi somewhat counters this orderly spirit. Indeed, his brushstrokes are extremely lively, charged with atmospheric vibrations that lend freshness to the representation.

Lello M. Barresi was born in Palermo in 1932. An artist with an academic background, he was initially a student of Carrà. For a decade, he lived in Southeast Asia, where he taught Western art history and, on behalf of the Italian Ministry of Foreign Affairs, performed diplomatic duties for the Italian Cultural Institute in Jakarta. From 1954, he devoted himself primarily to painting, initially focusing on composition and figuration. From 1970, his focus shifted to the female figure. He passed away in 2001.

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