MARIA IPPOLITI - UNTITLEABLE

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.

Situated between Impressionism and Realism, Maria Ippoliti's pictorial production is distinguished by an execution grounded in excellent technical quality. Indeed, her works are always distinguished by a perfect naturalistic rendering and a precise recording of sensory data, all interpreted, however, with an extraordinarily modern spirit. From a more conceptual perspective, we can appreciate how Maria Ippoliti's poetics unfolds in a lyrical, open-air celebration of the everyday. The countryside or lagoon landscape is exalted in a representation imbued with immediate and vibrant realism. Fundamental in this regard is her adherence to the Post-Impressionist movements, so prominent in painting schools between the 19th and 20th centuries. Formally, Maria Ippoliti's brushstrokes are vibrant and dynamic, aimed at conveying the complexity of objects' perception on the canvas.

Maria Ippoliti (Udine 1861 - Pordenone 1932). She trained first at the Venice Academy, then studied under the landscape painter Camillo Bortoluzzi. She was among the first painters to appear at the Venice Biennale in 1899, where she exhibited one of her finest works, "Crepuscolo gelido" (Venice, Galleria d'Arte Moderna). She devoted herself to plein air portraits, views of the lagoon city, the Veneto countryside, and luminous mountain landscapes.

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