Silvio Consadori - Burano

The urban landscape was already a popular subject in the Middle Ages and the Modern Age, 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. In Silvio Consadori's views of Burano, as in the present work, the everyday aspect prevails, the frank and sincere realism of everyday life in a city setting.

Silvio Consadori's style presents a perfect fusion of realism and a delicate, impressionistic rendering of sensory details. On the one hand, the artist precisely describes the view in all its details, with a strong sense of urban reality and the everyday life of simple life. On the other, his refined painting technique allows him to convey a sense of immediacy to the canvas, thanks to rapid brushstrokes charged with atmospheric vibrations. Light thus reverberates across objects, yet without interfering with the precise depiction of reality. The entire view is thus characterized by a clear luminosity that is revealed, by contrast, in the play of shadows. The use of a palette of soft, delicate colors also serves this purpose.

Silvio Consadori, Brescia 1909 - Burano 1994. He studied at the "Moretto" Institute in his hometown and at the Academy of Fine Arts in Rome. His practical training in fresco painting took place with fellow Brescian masters Giuseppe and Vittorino Trainini and with Eliodoro Coccoli. The Brozzoni scholarship he received in 1928 allowed him to travel to Paris, where he remained for several years. In 1936, he made his decisive encounter and fell in love with Burano. In Milan that same year, he won the "Milyus Prize," and in 1941 the "Canonica." Among the major national exhibitions in which he participated by invitation are the Rome Quadrennials, the Venice Biennials, the Biennials of the Permanente in Milan, and the Sacred Art Exhibitions at the Angelicum. He was deeply involved in religious art, creating frescoes, altarpieces, and mosaics in the churches and sanctuaries of Cascia, Oropa, Milan, Rome, and the Vatican. Along with Filocamo and the sculptor Manfrini, he was among the artists esteemed and favored by Paul VI. He taught at the Brera Academy between 1940 and 1973.

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