Marco Petrus - University

The urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.

Marco Petrus is an artist deeply fascinated by urban landscapes and contemporary architecture, whether that of the twenty-year Fascist period or Rationalism. He is captivated by the purity of lines and a geometric rationality that transcends even a hyperrealistic rendering of the subject. Indeed, the essentiality and rigor of the form are in no way marred by the atmosphere or the light, which also cuts across the subject with a perfectly lined shadow. There are no luminous vibrations in the architectural perfection of the structure, which Petrus depicts with a compact composition that yields to no existential pressure. This results in a metaphysical dimension perfectly suspended in a timeless moment. The exaltation of lines leads Petrus to choose scenographic angles, photographic framings that highlight the perfection and compositional purity of his works.

Marco Petrus was born in Rimini in 1960. His career began with the 20th Sulmona Prize and the San Carlo Borromeo Prize for the reproduction of architectural works from the 1920s, 1930s, and 1940s. He subsequently exhibited his work in numerous solo and group exhibitions, both in Italy and abroad. In 1996, he won an award at the 18th Rassegna Nazionale del Disegno, and the following year, the Morlotti Prize and the 37th Suzzara Prize. In 2003, Electa published the first catalogue dedicated to Marco Petrus's work. 2003 was a pivotal year for London Suspended, at the Barbara Behan Contemporary Art Gallery in London, featuring the painter's first solo exhibition abroad, followed two years later by the Milan at Columbus Day initiative.

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