816 Views |  Like

The landscape of the soul vibrates throughout the Nineteenth century

Landscape painting in the Nineteenth century generated a sort of inquisitiveness that went far beyond absolute plausibility or reality. It explored the deepest sentiments of the soul where in every human being memories and sacrosanct values were kept and nurtured. Contemplation became the only way to measure infinity that, through art itself, was able to find its own formidable way forward. These, therefore, are the impulses of spirit behind Summer Sunset by Alfredo Luxoro, a canvas of such subdued elegance that was exhibited at the Promotrice in Genoa in 1905 and will go under the hammer in the November 30th auction of Nineteenth Century Paintings. The tones and shades of light in the landscape and the intimate and constant resonance of the clear sky over the green valley penetrate the whole painting. The thin solitary figure stands out with an air of mysteriousness over an eloquently evocative and lush landscape. A pupil of the Linguistic Academy, Alfredo Luxuro became an “Academic of Merit” in 1893, taking over later from his father, Tammar, in its management. He was an oil and an a fresco painter who favoured landscape paintings above all other genres although he also painted general scenes at times.
In Bathers on the Beach by Plinio Nomellini, the strong direct light burns and shatters the features of the figures of the people in the painting as well as the objects, the animals and the sea itself with such expressive sincerity that belies more than words about his frank, vigorous and intrepid glimpse of life as he captures the glare of light and colour so beloved of French Impressionists. Following his death in 1943, Plinio Nomellini’s works were long ignored by the experts and art scholars. In 1966, the first important reflection upon his works was held in Florence and Livorno in an exhibition presented by Carlo Ludovico Ragghianti and organised by Raffaele Monti and Giacinto Nudi. In 1985, his paintings were the subject of a deep and well-articulated analysis on the occasion of an exhibition held in Genoa that was curated by Gianfranco Bruno. Since this particular date, Plinio Nomellini’s name has featured among the most important studies on Divisionism and Post Macchiaioli painting.