Maria Quagliozzi - Diptych "The Arrival / The Greeting"

The iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, and Puvis des Chavannes, who, while using a primarily figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references. This pair of works, intended to serve as a companion piece, depicts the same scene in a mirrored composition, in which a statue is juxtaposed with a female figure in a truly evocative and enigmatic scene.

In this painting, we can see how painter Maria Quagliozzi essentially draws on a figurative style inspired by classical and traditional genre scenes, revealing, upon closer inspection, a much more creative Symbolist and Expressionist vein. Iconographically, it's clear that we're dealing with a subject that doesn't claim to represent reality, but rather to convey hidden, underlying messages. While the interpretation harks back to Symbolism, the execution of the painting remains within the confines of a rather classical pictorial style, tempered and enlivened, however, by a marked pictorial synthesis. Thus, Maria Quagliozzi's figures, in their mysterious gardens, take on an evanescent and fleeting consistency.

Maria Quagliozzi was a painter born in Antrodoco in 1919 and died in Rome in 1993. Her original work is distinguished by a symbolic interpretation of the classic genre scene. Her works have been exhibited in numerous art exhibitions and shows.

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