Pasqualino - Untitled

The work can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones. The Impressionists, in particular, favored subjects related to modern life in urban, bourgeois settings. More specifically, 20th-century art, conducted along the lines of existentialism and the analysis of human relationships, focused on the investigation of a bourgeois world, captured in its everyday gestures and rituals.

Among the most important representatives of the Novecento movement, Lia Pasqualino also made the exaltation of plastic values ​​the most prominent feature of her painting. However, in her bourgeois and existential genre scenes, the plastic rendering fades away for a more expressionistic interpretation. The scene depicted is realistic, but shows a scarcity of physiognomic details, of objective particulars that could identify the situation or even place it within a social context. Existentialist art is not interested in external social reality, but rather in the interior of man, which the artist explores through her expressive means. The pictorial deformations that characterize this painting are a means of expressing existentialist anxieties. The scene is precisely framed by Lia Pasqualino, delimiting an interior, a restricted space in which the subjects are forced to interact with one another. In this space, the artist highlights internal tensions by expressively deforming the figures. The subjects are imbued with emotional vibrations. These vibrations also reverberate throughout the space of the work, underlining the subjects' solitude and difficulty in relating to one another.

Lia Pasqualino Noto was born in 1909 and passed away in 1998. She studied painting and participated in various exhibitions, meeting the futurist painter Pippo Rizzo. After exhibiting in 1934 at the Milanese gallery "Il Milione" with the Sicilian Group (Guttuso, Franchina, Barbera), Lia Pasqualino Noto continued her artistic research, focusing on a profound analysis of the dialogue between the human figure and nature. Her painting appears tied to a figurative realism to which the artist always remained faithful, despite its natural evolution. From 1937 to 1940, she directed the Galleria Mediterranea in the Palazzo de Seta in Piazza Kalsa, then the only gallery in Palermo exhibiting contemporary art, and succeeded in having the GAM in Palermo purchase paintings by important artists. She was an active member of the "Gruppo dei Quattro" (Group of Four) artists from Palermo, along with Renato Guttuso, Giovanni Barbera, and Nino Franchina; she participated in several editions of the Venice Biennale and the Rome Quadriennale.

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