Pietro Annigoni - Untitled

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

The pictorial language of the master Pietro Annigoni is distinguished by a seamless fusion of classical tradition and contemporary sensibility. While the former predominates in his portraiture, in his landscape painting the artist gives free rein to contemporary expressionism, reaching heights of expressionist language. This small landscape is a beautiful example, where Annigoni subjects the data of tangible reality to a pronounced synthesis of color. Nature is minimized in a subtle, calligraphic style, richly arabesqued and dark, which contrasts with broader chromatic areas, vibrant with a shifting, nuanced light. This is a decidedly lyrical, if not downright spiritual, interpretation of landscape painting, grounded in the expressive qualities of color and line, rather than form.

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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