Giangiacomo Spadari - Untitled

A popular iconography throughout the history of Western art, the Crucifixion has its origins in the early Christian era and has developed over the centuries, culminating in the most recent expressions of contemporary art. The traditional iconography of Jesus on the cross has infinite variations, from the simplest, accompanied only by the "mourners"—the Madonna and St. John the Evangelist—to the occasion for large choral scenes. It is often also accompanied by symbolic elements, such as the presence of the sun and moon or Adam's skull beneath Christ's cross.

In contrast, in this interpretation, Spadari strips the scene to its bare essentials, eliminating all other characters and focusing the composition solely on the crucified Christ lost in a dramatic landscape. Reality is interpreted extremely synthetically, with an almost brutal reduction. The surface is completely two-dimensional, with no allowance for spatial depth. The brushstrokes delineate the forms in a very tormented manner. Color is used according to an emotional, spiritual interpretation, without any connection to reality, and the application of color is dense and material.

Giangiacomo Spadari was born in 1938 in the Republic of San Marino. His career began in 1961, when he moved to Milan, where he held his first solo exhibition at the Galleria Spotorno. Initially, he turned to a kind of existential realism. In 1966, Spadari found his signature style, exploring the climate of 1968 and the student protests, revisiting these issues with a pop approach. The use of solarized photographs or images from films or newspapers transformed him into true icons of contemporary art.

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