Enzo Cangi - Untitled

The “Still Life” genre emerged at the beginning of the 17th century. It consists of depicting compositions of inanimate subjects, in most cases flowers or fruit. While at the beginning of its history it provided painters with an opportunity to attempt a naturalistic or photographic reproduction of reality, in contemporary art “Still Life” also becomes a way of interpreting reality. Indeed, as will happen, for example, in Cubist avant-garde or in Giorgio Morandi, the profound exploration of objects will culminate in a conceptual representation, taking it beyond the mere sensory data.

Looking at this work, it is evident how Enzo Cangi, in executing the “Still Life” genre, looks with particular attention to one of the leading masters in this field, Giorgio Morandi. He therefore carries out a profound process of reflection on objects with the aim of deriving their liveliest image. In this process, the painter is aided by the light that bathes the composition, leading the artist to carry out that process of reducing the objects until only their true essence remains. What remains is an almost diaphanous image, yet extremely vivid and mobile, shaken by genuine existential (as well as luminous) vibrations. Another fundamental element, also common to Morandi’s still lifes, is obviously the formal perfection and balance of the composition (which in Cangi also extends to his landscape production), both of which look to the great tradition of Italian painting.

Enzo Cangi was a painter originally from Pieve Santo Stefano, in the province of Arezzo, born in 1938 and passed away in 1974. Enzo Cangi’s research distinguished itself above all in the development of a brushstroke that begins as post-impressionistic but ends up imbuing the depicted objects with existential vibrations. In this sense, Giorgio Morandi was certainly a sure model of reference, as we can infer from the rich production of still lifes featuring earthenware and bottles. Another major thread of which Enzo Cangi’s work is rich is that of the typically Tuscan rural landscape, linked above all to the minimalist and rationalist realism of Ottone Rosai.

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