Serene Serena - Untitled

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.

The formal structure of Sereno Serena's landscapes is very rigorous: one could almost say the spatial organization has a geometric rigor. A fundamental element in this organizing intent is the use of perspective, which determines the arrangement of objects and frames them rationally. The buildings and groups of houses, often placed precisely at the center of the work, are almost agglomerations of geometric solids. The logical, functional connection is what most interests the painter, who instead glosses over details and fails to contextualize. From this focal point, the rest of the painting is organized. Paradoxically, however, the artist uses a soft, veiled brushstroke that blurs the objects, softens their severity, immersing them in the atmosphere.

Serena Sereno is a painter who has based her entire research on formal rigor and spatial organization. Her landscapes are not a naturalistic description of the reality before her, but rather a pretext for ordering the world according to a rational logic. For this reason, her landscapes are anonymous, devoid of context. Featuring only a few essential details, Serena's landscapes can be associated with Carrà in his Magic Realism phase. However, this artist, also demonstrating a keen interest in atmospheric rendering and the interaction of objects with space, also shares some similarities with Morandi the landscape painter.

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