Paolo Del Giudice - The Bridge

The urban landscape was already a popular subject in the Middle Ages and Modern Ages, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings. Among Paolo Del Giudice's favorite subjects are the city of Venice and, in particular, the Rialto Bridge.

The work is a clear example of an Expressionist landscape. Reality is interpreted in an extremely synthetic manner, with an exercise in reduction that seeks to reach the purest essence of the bridge. The surface is completely two-dimensional, with almost no spatial depth (which is indefinite). The brushstrokes delineate the forms in a very instinctive manner. Delving even further into the details, we can see how Del Giudice depicts the Venetian landscape with a series of almost gestural marks, creating a monochrome impasto that transfigures, in the pictorial material, his perception of the city. Thus, the application of color is evanescent, and the monument is interpreted almost as a diaphanous and fleeting vision.

Paolo Del Giudice was born in Treviso in 1952. He soon developed an independent language, winning first prize at the 10th Triveneta Biennale in Cittadella in 1970. After high school, he attended the Academy of Fine Arts in Venice and, between 1973 and 1983, took part in the initiatives of the Bevilacqua La Masa Foundation. In 1991, he began collaborating with Studio Gastaldelli in Milan. In 2002, he created the exhibition Biblion in the Abbey Hall of Sesto al Reghena, where he ideally recomposed a monastic library. This was followed by the solo exhibitions in Milan, Elogio della pittura (2002), again at Studio Gastaldelli, and, the following year, Architetture dell'anima in the Spazio Ta Matete; Pagine Nere (2003) at the Attico in Rome; Il sentimento dell'arte (2004) at Palazzo Isolani in Bologna; Perceptions of Landscape at Ghiggini Arte Contemporanea, Varese (2005); Forza motrice (2005) at the ATAC Hangar in Piazzale Prenestino. In 2006 he presented Pier Paolo Pasolini: volti 1988 – 2005, at the Palazzo Ducale in Mantua: a cycle of paintings inspired by the icon of the poet. In 2007 he held a retrospective exhibition entitled Pietas Mundi at the Galleria Sagittaria in Pordenone. In 2011 he was invited to the Veneto section of the Italian Pavilion at the Venice Biennale, at Villa Contarini in Piazzola sul Brenta.

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