The Arno near Bellariva by Giovanni Fattori

The Arno near Bellariva 1870

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giovannifattori

Private Collection

painting, plein-air, oil-paint, impasto

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boat

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painting

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impressionism

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impressionist painting style

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plein-air

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oil-paint

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vehicle

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landscape

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river

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charcoal drawing

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impressionist landscape

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oil painting

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impasto

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water

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painting painterly

Dimensions: 34 x 98 cm

Copyright: Public domain

Curator: A kind of quiet melancholy hangs over this one, wouldn't you say? It's got that sort of washed-out, end-of-summer vibe. Editor: Indeed. We’re looking at Giovanni Fattori’s "The Arno near Bellariva," painted around 1870. This oil on canvas, rendered in a plein-air, reflects the artist’s distinctive brand of Impressionism. Curator: Ah, Fattori... part of the Macchiaioli movement, right? Painting those 'patches' of light and shadow to capture the true essence of a scene, not just the pretty picture. He wanted to reflect the raw, imperfect feel of reality, did he? Editor: Precisely. Notice how Fattori constructs the landscape through distinct planes and masses of color? The horizontal composition guides the eye across the river and its banks, the silhouettes of the boats almost ghost-like against the muted palette. Semiotics is the entry here: consider the placement and symbolism of those humble boats in representing human presence and activity within a vast natural world. Curator: Right! The boats, symbols for life or labour on hold somehow... Gives you the feeling the workers are all gone and only the landscape exists and is a bit haunting... the water is so flat and stillness reflects on every patch. The painter captures such fragile silence there. You think he felt at peace, stood on that river bank and made it all permanent on his canvas? Editor: Perhaps a contemplative, reflective state more than overt peace. Observe the almost melancholic tonality; browns and greens dominant, and skies in the shades of grey; what mood is in all of that. Curator: That's true, it's not joyful, is it? He’s stripped everything down, it almost hurts that sense of beauty in absence, of capturing the ordinary with a bit sense for melancholy in it... Editor: It leaves you wondering about Fattori's internal experience, yes. By meticulously scrutinizing this artistic piece, we extract levels of aesthetic intention and deeper insight. Curator: And I leave with feeling and almost aching emptiness, just like in his time!

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