Novella Parigini - Untitled

Since the early Christian era, the face of Christ has been the object of special veneration. Its depiction has pervaded the entire history of Western art. From the first iconic representations of the early Christian and early Middle Ages, we gradually arrived at increasingly naturalistic (starting with the Renaissance) or realistic (typical of Flemish art) depictions.

Based on its execution, we can say that the style of this engraving reveals a certain naive attitude on the part of the artist. The desire to achieve a childishness in the representation is evident, with the aim of imbuing the artwork with primordial values ​​of purity and innocence. Novella Parigini's aim is to offer a simplified interpretation of reality, seeking new expressive values ​​in representation. This is expressed through a loose technique that resolves the subjects with a few, quick but incisive strokes. It is the line, light and thin, that determines the composition and its rhythm. There is, in Novella Parigini's interpretation of the subject, a primordial essentiality. It is almost as if the artist, by completely emptying the subject of its material, has succeeded in capturing its true essence.

The figure of Novella Parigini differs markedly from the conventional naïve artist, who is typically a social outcast, if not outright marginalized. Parigini's life, however, is characterized precisely by the high society of her experiences, both in Rome and Paris. And it is in this sense, then, that the pursuit of pure and simple formal values ​​in her artistic career should be interpreted. First and foremost, the hedonism typical of the Sienese aristocracy from which Parigini descended comes into play, making painting a game in itself, a playful exercise to be practiced with a refined and fascinating childishness. But art, for Parigini, is also a reflection of her free, unconventional life: hence the desire to pursue pure aesthetic canons that break all ties with the past.

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