Orfeo Tamburi - Parisian Street

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. In Orfeo Tamburi's artistic production, the urban landscape is the absolute protagonist, so much so that it completely ignores the presence of humans. For this reason, Orfeo Tamburi's works are not a celebration of city life, but rather an aesthetic and formal exploration of urban views.

For Orfeo Tamburi, the Parisian urban landscape, which he reiterates throughout his paintings, is a formal exploration. The streets lined with buildings, with their regular, geometric lines of doors, windows, and walls, provide a pretext for a rational arrangement of reality. Although the diagonal view of the street lends great dynamism to the composition, in Orfeo Tamburi's work the urban landscape unfolds in a carefully calibrated balance of shapes and colors that establishes the artist's rational gaze as a fundamental prerequisite. The volumes of the buildings fit perfectly into an interplay of overlapping planes and perspectives. This does not detract from the fact that Orfeo Tamburi's landscapes are nourished by life and shaken by existential vibrations. This is achieved through the use of a synthetic, dense, and textured paint that characterizes the lived objects.

Orfeo Tamburi was a painter born in Jesi in 1910 and died in Paris in 1994. He trained in the French capital and participated in the Venice Biennale and the Rome Quadrennial. The undisputed protagonist of his work is the urban landscape, which he interprets with a textured brushstroke that gives consistency to objects, making his compositions a play of interlocking planes and volumes in perspective.

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