Rioli - Rome

The urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.

Not only because of his subject matter—the city of Rome—but also because of his artistic language, Rioli can be considered close to the pictorial influences of the Roman School, the movement that, between the 1930s and 1940s, opposed the rigor and plastic exaltation of the Novecento movement with a style inspired by European Expressionism. A distinctive characteristic of the Roman School, as well as Rioli's, is an elegant formal synthesis that is essentially achieved through color. In this painting, the artist furthers this discourse with a pronounced abstraction of volumes, resolving the objects with a few brushstrokes and exploiting the qualities of diluted color. The Roman landscape, while still recognizable, is transformed in form by the painter's impetuous sensitivity, which characterizes the depiction of profound vibrations that are atmospheric, but above all lyrical and emotional.

As we can see from an analysis of this work, Rioli stands out for his expressionist, synthetic, and minimal production, drawing him closer to the influences of the Roman School. Objects are resolved with a few brushstrokes, creating a landscape in which the artist's sensitivity prevails over the recording of sensory data.

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