William Carassi - Pond with Swans

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism. Even in his landscape painting, William Carassi draws on that rural world, with its magical, fairy-tale simplicity, typical of his naive style.

The style of artist William Carassi is typical of the naive school, of which he is a worthy representative. The naive artist is by definition self-taught, someone who has not attended an academy but has found inspiration within himself. Stylistically, this translates into figurative painting that offers a simplified interpretation of reality, with childlike and unwittingly primitivist overtones. However, even the naive artist, in his spontaneity, possesses a self-awareness that leads him to develop a very specific aesthetic language, distinguishing it from amateurism. As we can see in this work, the process of simplifying reality is applied to a peasant world, guardian of the primary values ​​that naive painting seeks to extol. Furthermore, from a formal standpoint, Carassi's style transfigures reality into a fairytale dimension. The images, formed by pure lines and colors, become iconic, imbued with a blend of the archaic and the magical, precisely what we find in fairy tales.

William Carassi, an artist originally from Mantua, is a representative of the Italian naïve movement, yet draws strong influences from the contemporary Yugoslavian school. His paintings clearly demonstrate a desire to seek out a childishness and a magical dimension in representation, aiming to imbue the artwork with primordial values ​​of purity and innocence.

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