Pietro Annigoni - Untitled

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the highest expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also been a central theme in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism.

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. The physiognomic and anatomical 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 the 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 bodies and the indefiniteness of hair or clothing. In this way, Annigoni's artistic practice, despite the strength of tradition, is imbued with contemporary expressiveness, whose modernity is discernible precisely in the incompleteness and indeterminacy of the subject. Even in monochrome we can appreciate the play of shadows and lights that highlight 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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