Antonio Bertè - Landscape

The iconography of Antonio Bertè's paintings often has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. Bertè's elaboration of subjects can be linked to the artistic language of late-nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, while using a primarily figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references. However, Antonio Bertè stands out significantly from these artists of the late-nineteenth-century and decadent period. While the latter's themes were inspired by complex and refined literary quotations, Bertè's symbolism paradoxically draws its lifeblood from the reality of social issues. The protagonists of his works are outcasts and social outcasts.

Antonio Bertè's pictorial language always exists in a dimension poised between reality and abstraction, between objectivity and subjectivity. Indeed, his works are generally composed in a figurative language, yet completely transfigured by the artist's poetics. Thus, the entire composition of the work undergoes anti-naturalistic strains in its expressive key, both in terms of the formal synthesis of the subjects and, above all, in terms of the use of color. Indeed, Bertè's works are always contextualized in atmospheres dense with color and dynamic pictorial gestures.

Antonio Bertè was a Neapolitan artist born in 1936 and died in 2009. His career began in the 1960s, and by the 1970s he was a very popular artist. His visionary pictorial production draws inspiration from music and literature. He dedicated thematic cycles to Federico García Lorca (1970 and 1990), Alessandro Manzoni (1973), Kafka (1974), and Pirandello (1980). The "little men" often featured in his works have an existentialist symbolic value.

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