Tullio Alemanni - Portrait of an Old Woman

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout all eras. Portraiture is, first and foremost, a description of the represented subject, an attempt to faithfully and naturally capture their physiognomy and individual characteristics. As artistic exploration gradually evolved, the physiognomic description of the subject was accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective inquiry into the subject, their character, and their state of mind. The processes of abstraction introduced by contemporary art have further supported this type of inquiry.

In his pictorial production, the artist Tullio Alemanni stands out for truly excellent formal quality. We can see this in the many portraits he executed, in which, although the subjects differ, his highly developed sense of naturalistic rendering interpreted through a modern lens remains constant. Indeed, despite the impeccable, almost photographic recording of physiognomic details, Alemanni seeks to avoid any attempt to idealize the subject. For this reason, his figures are imbued with a real vitality given by the genuineness of their gestures and poses, sometimes almost casual, and by the profound existential vibrations he manages to convey through his painting. Indeed, Tullio Alemanni's brushwork is distinguished by great complexity and a modern approach to naturalistic rendering. His line is fluid and, in some cases, more concise, in order to achieve a truly realistic and therefore vivid dimension of the human figure.

Tullio Alemanni was born in Acqiaro in 1897, graduated from the Albertina Academy in Turin, and, at the end of the 1920s, undertook an intense artistic activity, carried out mainly in Piedmont and Lombardy. He died in 1983 in Ivrea. Among the most important works created by this painter, we recall the chapel of the Salesian institute Cardinal Cagliero with the frescoed apse and the large canvases on the walls, as well as the paintings that form the backdrop to the baptismal font of the church of San Maurizio, also in Ivrea.

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