Pietro Annigoni - Sarah

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 subject depicted, an attempt to capture 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.

As in his paintings, we can also admire the technical prowess of Pietro Annigoni in his exquisitely crafted engravings, especially in his portrayal 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 and smooth form. The contours are undefined, thanks to a sfumato 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. In this way, Annigoni's artistic practice is imbued, despite the strength of tradition, with contemporary expressiveness, whose modernity is discernible precisely in the incompleteness and indeterminacy of the subject. Even in monochrome, we can appreciate the interplay of shadow and light that enhances the volumetric consistency of the figures.

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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