Roberto Pelagatti - Flowers

Flowers as an independent subject begin to appear in “still lifes,” a genre that sees the light of day at the beginning of the 17th century. Painters’ interest in the floral world subsequently grows, especially among the Impressionists, who saw it as 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 attempting a photographic reproduction of reality, in contemporary art the subject of flowers also becomes a way of interpreting reality.

Even in this work, in which Roberto Pelagatti departs from his scathing vision of society to devote himself to a more classical and traditional genre such as the flower vase, he maintains his artistic language, inspired by a simplified realism and a fascinatingly objective vision. In this way, lacking a sociological component and focusing the work on a simple object, his style takes on the form of a refined magical realism. The characteristics are those peculiar to Roberto Pelagatti’s artistic approach: space is constructed through an overlapping of planes that does not develop in depth, but whose complexity derives from a multiplicity of cubist-inspired viewpoints. Within this space, the artist can unfold the subject’s crisp surfaces, with their marked contours and blocky volumes. The application of paint is always complex, alternating between flat, compact areas of color and more dynamic renderings created with a palette knife technique. The palette also remains true to Pelagatti’s signature style, ablaze with bright and precious tones.

Roberto Pelagatti is a renowned 20th-century artist whose artistic output is largely inspired by an ironic and cynical vision of bourgeois society. For this reason, his artistic language is based on a realism distorted in an expressionistic manner, both in form and content, according to a deliberately simplified and stereotyped view of the world. In this vision, he draws on the New Objectivity movement and shows his inspiration from artists such as Otto Dix and George Grosz.

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