The landscape has always been a protagonist in artistic research, both as a setting, as a background, but also as a subject itself. The naturalistic description of the landscape has been one of the greatest aspirations for artists of every era. Each historical period has given its own interpretation of the landscape contributing to the evolution of its description: first with a research on space, through the Brunelleschian perspective in the early Renaissance, then on the atmospheric rendering in the sixteenth century, up to the representation of each single vibration of the light on objects in Impressionism.
The first fundamental element that results from the analysis of this painting is the rationality of the composition. Although the painter measures the space in a perfect perspective, applying a cursive and fast technique with remarkable quality, nevertheless the landscape is framed in an evident convergence of orthogonal lines. On this convergence the objects are arranged, almost entirely symmetrically, creating a perfect harmony of the elements. From a formal point of view, the artist pursues an impeccable naturalistic rendering, based on a very marked drawing structure. The volumes of the objects are plastically detected and every detail is reported with extreme precision. As for the atmosphere, the whole scene is characterized by a suggestive penumbra.
As we can appreciate from this painting, the artist who created this painting is a painter who is very gifted from a technical point of view. In his paintings we can admire a perfect naturalistic rendering, combined with a very lyrical sense of the landscape.
The photos are an integral part of the description