Pio Semeghini - Untitled

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.

Pio Semeghini's painting represents a perfect balance between realism and symbolism. The artist, in fact, begins with a description of reality, but does not stop at a mere description of naturalistic data. He goes beyond the simple phenomenon recorded by sight to convey the very essence of his subjects on canvas. Through a color palette charged with emotional tension and reminiscent of the teachings of the Symbolists, the painter seeks to involve us in an experience. Semeghini's figures immediately convey a great spontaneity, but upon closer inspection, the artist, through his unconventional use of color and abstract forms, reveals the existentially more complex reality of his subjects. Furthermore, the precise description of the figures is supported by a sinuous line, reminiscent of Modigliani, which, by elegantly manipulating proportions aesthetically, helps make Semeghini's characters simultaneously familiar and disturbing.

Pio Semeghini (Quistello, 1878 - Verona, 1964) was an Italian painter. He trained at the Academies of Fine Arts in Modena and Florence and in 1899 went to Paris, where he met important Italian artists such as Filippo De Pisis, Ardengo Soffici, Gino Severini, and Amedeo Modigliani. In 1902 he returned to Italy, where he formed the Burano School with Gino Rossi, Umberto Moggioli, and Arturo Martini. In 1919, he exhibited his paintings at the 11th Art Exhibition of Palazzo Pesaro in Venice and achieved great success. He subsequently participated in the First Roman Art Biennale and in the 1926 International Art Biennale in Venice. In 1949-50, he participated in the Verzocchi Collection project, which focused on the theme of work, and by the late 1950s, he had his work exhibited at the most important events and exhibitions in Italy and abroad. After 1940, Semeghini's painting became increasingly rarefied, so much so that it anticipated informal painting and influenced many of the post-war Masters, such as Ennio Morlotti, Emilio Vedova, Giuseppe Santomaso, Virgilio Guidi, Afro Basaldella.

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