M. Villa - Still Life

The "Still Life" genre emerged in the early 17th century. It consisted of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with naturalistic or photographic reproductions of reality, with contemporary art, the "Still Life" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory aspect.

In this painting, Villa demonstrates how his pictorial language is dedicated to faithfully transposing reality onto the surface of the work. His primary interest is in the plastic, modeled, and textured qualities, which are softened by a subtle painterly quality just enough to blend into the atmosphere. Otherwise, the subject stands out clearly, with an almost hyperrealistic clarity. Indeed, one can see a desire to objectively convey onto the canvas, with cold lucidity, the sensory data the painter has before his eyes. All this is possible because Villa possesses a remarkable technique, reminiscent of Flemish painting, in the precision with which he reproduces the various materials and surfaces and the effects of light falling on them. The view of the city of Bergamo in the background is also beautiful, characterized, however, by a more subtle and atmospheric painterly quality.

The painter M. Villa, as we can see from analyzing this work, has achieved a truly excellent execution technique. His reproduction of real objects borders on hyperrealism, even though everything is brought to life by a loose and vibrant brushstroke.

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