FLOWERS - GANDOLA

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 style developed by Gandola in his still lifes and floral compositions demonstrates a post-Impressionist maturity: this artist's exploration, in fact, emphasizes the expressive potential of color, achieving remarkable heights in this stylistic register. The composition is entirely compressed into the foreground, without any allowance for spatial depth. The painter's aim is not to capture the sensory aspect of the fruit or flowers, but to capture their very essence, their substance. To this end, the brushstrokes, rich in texture, intervene, which, despite the simplicity of the representation, fleshes out the objects, breaking them down into different planes, recording the vibrations of light and life within them. The sensory aspect, therefore, is completely transcended in a complex conception of pictorial practice in which the artist's gestures themselves play a fundamental role. Even from a purely aesthetic perspective, the composition resolves itself in a harmonious dialogue of chromatic zones, created by the balanced arrangement of the colors. Finally, noteworthy is the use of light which records vivid reflections through rapid flashes of white.

As we can see from an analysis of this work, Gandola is a painter who has developed in-depth research into the representation of objects and their perception through the still life genre. His pictorial language draws on post-impressionist currents, reflecting his own unique approach.

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