Pietro Annigoni - Mother Eva

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the depicted subject, an attempt to convey their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation. Pietro Annigoni's interpretation of "Eva Madre" in this majolica reflects the fundamental tenets of his artistic practice. Truth unites with the spirituality of representation through the purity of formal values ​​that shape the work of this great artist.

As in his paintings, Pietro Annigoni's exquisite graphic work also demonstrates his technical prowess, especially in his depiction of the human figure. Annigoni is an artist capable of a completely naturalistic rendering, characterized by a high level of formal purity. Facial features are depicted with great truth in a soft, smooth form. The contours are blurred, thanks to a sfumato technique that allows the subject to interact naturally with the space. The subject's interaction with space and its liveliness and mobility are further accentuated by the striking contrast, often present in Annigoni's engravings, between the smoothness of faces and the indefiniteness of hair or clothing. Thus, Annigoni's artistic practice, despite its strong tradition, is imbued with contemporary expressiveness, whose modernity is discernible precisely in the subject's incompleteness and indeterminacy.

Pietro Annigoni (Milan 1910 – Florence 1988). In 1947, along with Gregorio Sciltian and the Bueno brothers, he signed the "Manifesto of Modern Painters of Reality," which advocated full adherence to natural truth through the use of ancient techniques used during the Renaissance. Annigoni's commitment to the naturalistic rendering of his subjects made him a great portraitist, appreciated by Europe's highest notables, so much so that he was called the "painter of queens."

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