Maurizio Galimberti - The Devil and Holy Water

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, or Puvis des Chavannes, who, despite using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.

The symbolic charge of this work by Maurizio Galimberti operates on two parallel fronts: the elaboration of the composition and the more strictly formal approach to its execution. As we can see, the choice of subject and the title of the work already indicate the presence of underlying and hidden meanings. There is a strong connection to historical symbolism in the choice of the character of the mask, the acrobat, the circus performer, which lends itself better to an enigmatic and overly meaningful reading (how can we not recall the characters of Picasso's "blue period"). Stylistically, however, Galimberti fuels his symbolism through a completely original and autonomous formal approach. His language is essentially figurative, but he places his subjects in a decontextualized, enigmatic space. The two figures are rendered with an extremely vibrant and synthetic approach, yet clearly delineated. The artist also introduces a certain gesturality in the application of color and in the tracing of white calligraphic signs on the surface of the work. From a chromatic point of view, the contrast between the white and the purple background is very beautiful.

Maurizio Galimberti is a painter originally from Oltrona di S. Mamette. His work is highly original and draws on the historical tradition of symbolism. However, everything is recontextualized in a highly original style, which blends figurative language with gestural techniques.

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