Bruno Martini (attribution) - Untitled

The urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.

The work is a clear example of an expressionist landscape. Reality is interpreted in an extremely synthetic manner, with an exercise in reduction that seeks to reach the purest essence of the landscape. The surface is completely two-dimensional, with almost no spatial depth. The brushstrokes delineate the forms in a very instinctive manner. Delving even further into detail, we can see how Martini depicts the urban landscape with a series of almost gestural marks, creating an almost monochrome impasto that transfigures his perception of the city into the paint. Thus, the application of color is dense and material, and although the language used in this work is synthetic and expressionist, Martini's vision remains tied to phenomenal reality, to its vibrations of light and atmosphere, in a pictorial process that takes the premises laid out by Impressionist and plein air art to their extreme consequences.

As we can see from the analysis of this work, in Bruno Martini's pictorial production the landscape is the absolute protagonist in an original expressionist/symbolist interpretation.

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