Salvatore Fiume - The Pasha

The work can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones. The Impressionists, in particular, favored subjects related to modern life in urban, bourgeois settings. The subject of this work, in particular, demonstrates how Salvatore Fiume's genre scene reflects the artist's taste for the exotic and the distant. Indeed, themes related to distant geographical areas are recurrent in this artist, used as a pretext for an ethno-folkloric representation of typical costumes.

This work is part of a series of prints inspired by the Oriental or African world, where the protagonist is always the female figure, dressed in characteristic attire. The composition is perfectly suited to Salvatore Fiume's style: the exotic clothing and the subjects' tribal origins, steeped in primordial values, blend perfectly with the stylistic roughness of the Sicilian master's more Expressionist phase. The deliberately coarse linework sketches out the figures, relegating them to a raw state that is synonymous with synthesis and, therefore, expressiveness. Furthermore, both in the subjects and in this language, which tends toward Expressionism, there is certainly a reminiscence of Toulouse-Lautrec's female characters. The color palette, based on bright, almost violent tones, also fits this concept.

Salvatore Fiume was born in 1915 in Comiso and died in Milan in 1997. In addition to being a painter and sculptor, he was also an architect. His career as a painter focused on a reinterpretation of classicism, particularly Renaissance painting and Piero della Francesca. Later, thanks to his success, he traveled extensively around the world, drawing inspiration from exotic folklore, which he rendered in an expressionist manner.

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