Raul Viviani - The Anemones

Flowers as a subject in themselves began to appear in still lifes, a genre that emerged in the early 17th century. Subsequently, painters, especially the Impressionists, increasingly focused on the floral world as an extraordinary opportunity to capture vibrant colors and light. Thus, flowers began to appear not only in vases, but also immersed in their natural landscape. While initially a pretext for painters to attempt a photographic reproduction of reality, with contemporary art, the subject of flowers also becomes a way of interpreting reality.

Situated between Post-Impressionism and Divisionism, Raul Viviani's pictorial production is distinguished by an execution grounded in exceptional technical quality. Indeed, his works are always distinguished by the precise recording of sensory information, all interpreted with an extraordinarily modern spirit. From a more conceptual perspective, we can appreciate how Raul Viviani's poetics unfolds in a lyrical celebration of the everyday. Countryside or seascapes, as well as still lifes, are exalted in a representation imbued with immediate and vibrant realism. Crucial in this regard is his adherence to the Post-Impressionist movements, so prominent in 20th-century painting schools. Formally, Raul Viviani's brushstrokes are vibrant and dynamic, aimed at conveying the complexity of objects' perception on the canvas (which sometimes leads him to adopt a Divisionist technique).

Raul Viviani (1883-1965). He made his debut in public exhibitions at just seventeen, and in 1900, at the Famiglia Artistica exhibition, his highly personal paintings quickly earned him the attention of leading art critics. At the Munich Quadrennial held in the Crystal Palace in 1913, his evocative painting "Poesia" was immediately purchased for an important collection. That same year, the "Società Nazionale Dante Alighieri" set up a Viviani room at the Rimini exhibition, and on that occasion he was awarded the Ministry of Education's grand medal. In 1914 he was appointed Artistic Commissioner of the Municipality of Milan, a position he held until 1922. His participation in the most notable artistic exhibitions continued uninterrupted until 1931, the year in which he was called by the Presidency of the Uruguayan Government to establish an Academy of Painting in Montevideo, which he directed for six years.

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