Tommaso Maurizio Santoro - Melody in a Corner of Brianza

The iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. This type of subject can be traced back to the artistic language of late-nineteenth-century painters such as Moreau, Bocklin, and Puvis des Chavannes, who, while using a primarily figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references. Tommaso Maurizio Santoro's paintings often feature reproductions of simple objects, yet set within a dreamlike context, imbued with a magical atmosphere and charged with underlying meaning. Musical instruments and scores are Santoro's favorite subjects, which, paradoxically, when placed in a silent and mysterious space, transcend into a symbolic dimension.

The magic and refined symbolic meanings inherent in this painting by Tommaso Maurizio Santoro are further fueled by his refined pictorial form. He draws on a decidedly classical conception of artistic creation, particularly the tradition of Baroque-era still lifes with musical instruments. Yet, at the same time, everything is transfigured, in a strongly dreamlike and contemporary sense, by the painter's lightness and dynamism of touch. The objects almost seem to lose their form and take on a diaphanous, ethereal appearance. This is possible thanks to a highly advanced technique of light, transparent paint glazes, which unites the entire surface of the work in an enchanted atmosphere. In the case of this work, the piano blends perfectly into the quiet of the Brianza landscape, immersed in a brown hue, illuminated by opaque reflections of light.

Tommaso Maurizio Santoro was born in Rossano in 1955 and has a studio in Bresso, near Milan. He has participated in numerous exhibitions and art shows in major Italian cities, including Florence, Salsomaggiore Terme, Novara, Genoa, Bologna, and others. His artistic work has been the subject of interest by critics Elisa Nas, Silvana Gualano, Giuseppe Toreggiani, Vito Cracas, Angelo Crapanzano, and Serena Scandolo.

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