All art is contemporary…episode #1

30 November 2020

The most significant works linked to the landscape of Piedmont 

Let’S start with Ferraù e l’ombra di Argalia by Massimo d’Azeglio, a painter besides being a patriot and politician. The work witnesses the double vocation of the author, the public and private soul of a man of great passions, who was strongly linked to his territory, i.e. Piedmont.

Same as Francesco Gamba, born in 1818, landscape painter of Piedmont in the XIX century, officer and dean of the kingdom’s Board of Auditors, who – by his Il Panorama di Torino dalla villa Barbaroux – tells another tessera in the history of this region. 

That kingdom we move away from with Giuseppe Pellizza da Volpedo, who, with his Paesaggio con pastorella, teleports us to Piedmont countryside. The work of a farmer painter, who was far from the glory, but not from the torments, of the city.

Yet, the vision of a magic Piedmont, which hides – just like its inhabitants – much more than it shows, sublimates and goes to the extreme in the fantastical landscapes by  Giacomo BallaLinee forze di paesaggio + volo di rondini, and by Salvo, Campagna Piemontese.

“Eternal wanderers of ourselves; there is no other landscape except the one we ourselves are”  (Fernando Pessoa)

In the image, on the left side: Salvo, Campagna Piemontese, 1979, oil on deck, cm 37 x 23, courtesy of Claudio Poleschi Arte Contemporanea (Dogana). Follows: Francesco Gamba, Il Panorama di Torino dalla villa Barbaroux, 1851, oil on canvas, cm 95 x 200, courtesy of Antonacci Lapiccirella Fine Art (Rome). Follows: Giuseppe Pellizza da Volpedo, Paesaggio con pastorella,1890, oil on cardboard, cm 14.1 x 22.1, courtesy of Aleandri Arte Moderna (Rome).
Right side: Giacomo Balla, Linee forze di paesaggio + volo di rondini, 1930, oil on canvas, cm 65 x 100, courtesy of Mazzoleni (London, Turin). Follows: Massimo D’Azeglio, Ferraù e l’ombra di Argalia, oil on canvass, cm 29.5 x 37, courtesy of Paolo Antonacci (Rome).