Alberto Casarotti - Sunflowers

Flowers as an independent subject begin to appear in “still lifes,” a genre that sees the light at the beginning of the 17th century. Later, painters’ interest in the floral world, especially among the Impressionists, grows ever greater, as it provides an extraordinary opportunity to capture chromatic and luminous vibrations. Thus, flowers are depicted not only in vases but also immersed in their natural landscape. While at the beginning of its history it provided painters with a pretext for a photographic reproduction of reality, with contemporary art the subject of flowers also becomes a way of interpreting reality.

Alberto Casarotti’s pictorial style was influenced by his close association with the “Corrente” group, and especially by Renato Birolli. His training therefore took place in a context that, in opposition to the traditionalism of Novecento, called for a return to the avant-garde, particularly to the Expressionist language. In keeping with this approach, Alberto Casarotti’s pictorial practice involves a high degree of synthesis in relation to the subjects. They are as if stripped of their materiality, and what emerges is their purest essence, determined by the power of color and the painterly gesture. Objects, therefore, reduced to their essentials in a two-dimensional space, are evoked through a very fluid line, typical of Corrente’s Expressionist reinterpretation, in a vibrant representation of vital energy. This energy determines the deformations and folds of the object, forcing the sensory data toward a more decisive and vigorous expressiveness. The application of color follows the same line: the brushstroke is powerful, almost gestural, confirming the Expressionist vigor. In the power of color, sensory data dissolve, and object and space merge into one in a highly evocative image.

Alberto Casarotti was born in Verona in 1906 and passed away in Montalto di Rivoli in 1991. His artistic training took place in Milan, where in the 1930s he attended the studios of Arturo Martini, Carrà, Manzù, De Chirico, and other artists who, in those years, exhibited at the Il Milione gallery. 1942 was a pivotal year when the painter, after attending the Brera Academy for a period, joined the “Corrente” group and became friends with Renato Birolli. With his first official exhibition in 1945 at the Santa Redegonda gallery, Casarotti immediately achieved success with the public and critics. Among his various participations in events and exhibitions, we also recall his two presences at the Venice Biennale (1950 and 1985) and the major retrospective held in 1990 at the Palazzo della Gran Guardia in Verona.

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