The Olive Trees of Seggiano
Granchi liked to take walks in the Mount Amiata area looking for views he found congenial; he would stop and set up his easel, painting from life to capture on canvas the fleeting nature of these luminous moments and the personal emotion he experienced.
Landscape outside Grosseto
Preparatory study The painter’s aptitude for photography is evident in this landscape viewed from a wide perspective and composed with a formal and chromatic synthesis that highlights its underlying geometric structure.
The Quarry at Roselle
preparatory study The study shows the completeness of drawing and colour that characterizes the finished work. Gentili applies his paint in large fields, as though placing tesserae in a mosaic, thus lending a solid, three-dimensional structure to his figures, which act as a peremptory declaration of the positive value of
Dredger on the Ombrone
The artist offers here his particular predilection for the aspects of modern farming present in Maremma, a proud symbol of liberation from the earlier depressed economy. The presence of a crane and light poles bears witness to the arrival of technology, applied without upsetting the harmony between built environment and
The Marketplace
The market scene looks like a reworking of a photograph taken with a wide-angle lens. Gentili often used snapshots which he enlarged and squared off in his studio to furnish an objective, realistic scheme of the views, which he then enlivened with paint to infuse them with feeling.
Outskirts
In Gentili’s works modern technology is inserted seamlessly into history and nature in a positive vision of industrial progress typical of the post-war period. The modest houses, built in a rural style and accompanied by vegetable gardens, stand against a background of a factory chimney and tall apartment buildings announcing
Santa Fiora. The Fish Pool
In this early work, Vagaggini played with reflections to create a distance that renders an intellectual perception of visible reality: The sky is below, reflected in the water above the roofs of the houses, while the leafy branches of a big tree cover the actual sky, forming a green barrier
View of Orbetello
In the 1940s Vagaggini abandoned his ideal world of geometric perfection and introduced the unfolding of time into his paintings. The surfaces wrinkle, move, and vibrate with a shiver of natural life; the skies watch the clouds passing by, the colours blend and merge with nuances not seen before in
Castiglione della Pescaia
The sunny, deserted shore stretches parched under a crystalline sky made almost colourless by the heat of the sun. In the centre of the canvas, the artist’s gaze places the outline of Castiglione high on the horizon, balanced on the sides by two symmetrical plateaus, achieving a visual equilibrium that
Marsh
Negli anni Trenta il pittore adotta un azzurro tutto suo, luminoso e astratto: la visione è limpida, cristallina, misurata dall’occhio e dalla mente a comporre una struttura ferma e silenziosa, assoluta e geometrica, quasi irreale per la sua magica perfezione.
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