Minelli - Untitled

Flowers as a subject in themselves began to appear in still lifes, a genre that emerged in the early 17th century. Subsequently, painters, especially the Impressionists, increasingly focused on the floral world as an extraordinary opportunity to capture vibrant colors and light. Thus, flowers began to appear not only in vases, but also immersed in their natural landscape. While initially a pretext for painters to attempt a photographic reproduction of reality, with contemporary art, the subject of flowers also becomes a way of interpreting reality.

The subject of flowers is truly exemplary of Minelli's pictorial conception. He begins with sensory data, but these are reworked by his pictorial gesture, which abstracts the forms. Thus, the representation becomes nothing more than the transposition of the artist's purest perception, which he communicates directly through his gesture. Thus, Minelli, starting from the figurative representation of flowers, can arrive at even informal results, whereby the work completely detaches itself from reality to acquire a much broader symbolic significance. The present work, however, still demonstrates a fairly solid connection with the life-like representation of flowers, demonstrating how Minelli approaches this subject with varying degrees of oscillation between sensory data and abstraction. Yet, the artist's gesture remains a fundamental component in representing flowers through an expressionistic application of color.

As we can appreciate from this work, in Minelli's production the subject of flowers is reiterated as a tool to develop the artist's perception which expands from the sensitive reality to have a symbolic value.

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