Intimity unveiled

The style of this painting, that dates to 1894, is particularly reminiscent of the work by Pierre-Auguste Renoir (1841 - 1919). In particular his influence is visible in the pink shade of the child's cheeks and clothes; she appears to be almost crushed under the weight of a very big bouquet of flowers, though the compositional balance is perfect: the large section depicting the side walk is almost empty, while the upper part of the painting shows an explosion of coloured petals.

The absorbed young girl shows her white and pink dress in front of a wood, the dominant colours are here green and pink. The red of the ribbon she is wearing in her hair captures the viewers attention. Impressionism taught Zandomeneghi the art of separating the colours, and to eliminate black, obtaining a much lighter effect.

This work, painted in the first years of the twentieth century, represents something very Italian. It is not only the choice of colours, that brings to mind the Italian flag, but also the features of the girl, who is similar to the characters depicted in the works of the Macchiaiuoli and more specifically of Giovanni Fattori (1825 - 1908). As he grew older, the artist seemed to go back to the classical art of his homeland, however without putting aside what he had learnt on the use of light during his French experience.

The little girl seems to move in an abstract space, where the dominant colours are blue and grey. Her dress seems to be emerging from the bottom of this blue patch, and lights it up. Also the bow in her red hair is blue. She is holding flowers with a long stem, her attitude is of devout intensity. A small masterpiece, painted around 1915, of daily grace and chromatic charm.

The obvious reference of this work of the first decade of the twentieth century is the painting of Edgar Degas (1834- 1917). The favourite subjects of the great French Impressionist painter were indeed the dancers, portrayed in all kinds of poses, often caught off stage, getting ready or warming up. This is the case of the girl by Zandomenghi, completely immersed in her own reflection. We do not finds the grace and movement that characterize the paintings of Degas, put the contrast between the pink of the socks and the blue of her tutu makes this work very powerful. Also, two details in particular are worthy of attention: on one side is a mirror, with a mechanical quality, on the other side a soft and light curtain. The two elements seem to delimit a stage for the dancer who is standing at the centre.

In this work, that dates to 1917, the attention given to still life, both by Impressionists painters and by Zandomeneghi, becomes manifest. Although this is not one of the main themes to be found in the paintings of the period, it is a subject that allows, as is visible in the work of Manet, to focus on the appearance of objects. Things seem to become undone, here the vegetables are almost an excuse to experiment with strokes and colour, and such a familiar object seems to be ennobled.

This work pays much more attention to the formal aspects of painting. Here the fruit is used, as for example happens in Cezanne, to create volumes and create contrast between different areas of the painting where different colours are used. Zandomeneghi is often criticized for a certain stiffness. His art does however also consist in immobilizing some aspects of life, setting them inside an endless mirror. Also, by looking closely at the canvas it is possible to make out rapid strokes that continuously recompose colour and play with light, a light that is more Venetian than Parisian.

Even Spadini, despite the few exchanges with foreign artists, is well aware the importance of Impressionist painting. In this group of mother, son, daughter and maid, bodies and dresses seem to come undone in a vortex of sensations, that evokes the paintings by Renoir. We are however already in the second decade of the twentieth century. The artist creates strokes and movements typical of post-impressionism, in the long arms of the mother and in the pattern of the floral decorations of the tapestry, which twist in an unnatural way to embrace the characters.

With Spadini it is difficult to distinguish between sketches and finished works. What becomes evident here, however, is the ability to portray childhood for what it is, a continuous mix of sincere emotions, including happiness and bewilderment. Here, the child seems to explore with vivid eyes the surrounding reality, while stiffening his body, sitting next to a beautiful plate full of fruit, which illuminates the painting with its bright colours. The work is dated 1913.

What is expressed here is the painter's love for childhood, portrayed with no rhetoric. Spadini stays in close contact with reality. This is demonstrated by this work, that dates to 1915, in which two children are portrayed, one smaller and the other one a few years older, while pensively wondering through a park. The trees behind them provide the perfect setting, a green light and purple shadows, to finely represent this difficult age. The child on the left puts his little hand on his chin, while holding what is perhaps a ball with his other hand, looking away, as if to try and guess what the future has in store for him.

The child seems to explore with his hands the various types of vegetables that someone has left on the table. Here the colours become strong, the red is visible in many areas of the canvas, also on the baby's cheeks, contrasting with the blue eyes and the thick dark hair which also shows some blue reflections. This painting can be rightly defined as Expressionist, because in the top left corner there is an area where colour takes over: it is perhaps a closet, but it is difficult to make out what the object is, because there is no longer any figurative reference typical of Impressionism.

Another masterpiece dating to 1918. The artist made a preliminary sketch of the painting that bears the same name. In it the flowers that in part cover the mother are missing. The painting is quite large and impressive: a well-built child turns towards an audience admiring him. The woman is sitting on a beautifully decorated bed with flowery curtains, the dark blanket seems to unfold in ripples; she is hugging and caressing her son. The painting depicts the force of an unquestionable and intact bond. The critics of the time spoke of the influence of Rubens and of Renoir, because the features of Spadini's characters sometimes bring to mind the over-abundance of the Flemish painter. The sweetness of the scene is however conveyed in a direct and sincere manner.

The great park in Rome is here painted in a very expressive way. The green grass and leaves seem to melt in the almost autumnal foliage of the tallest trees. Spadini is not concerned with the volumes or with the exact representation of things. What counts most is expression, the liveliness and the truth of feeling. Thus, his paintings are often little miracles of compositional balance.

This work, dating to 1918, reflects the great revolution taking place in European contemporary art at the time. The painter's involvement in this movement is visible in the grace and simplicity of this naked woman, in the tapestry and in the bed dispersed in waves of colour, in the extreme synthesis of the fruit bowl: here it is evident that Spadini had not only learned the great lesson of Manet, but that he had also come into contact with the work of Henri Matisse. A gentle sensuality appears in the naked forms, which also conveys the absorbed expression of the young girl who shows herself to us in a simple and genuine way.

Anna, Andrea and Maria, three of Spadini's children, are the protagonists of this work, composed in the last years of the painter's life. Boys who are no longer children, look at something or someone we cannot see. They seem to be concentrated, as if listening to a story or to music, we don't know exactly what. The painter gives movement to the group, transforming the immobility of the three boys into a small whirlwind of sensations that also seems to cross the walls of the room they are sitting in. In some places the details of bodies and of robes vanish, in other places they stand out forcefully, as is the case with the dark ribbon in Anna's hair that is also the centre of the composition.

The cat is perhaps the pet that can better enter into contact with the emotions and feelings of men. Here the painter, two years before his death, depicts a feline mother and child scene with the same grace used in many of his paintings portraying mothers and children. The three kittens crowd around the mother cat, who remains apparently impassive in her silent pride. They have different colours and different poses, the three kittens are a masterpiece of liveliness and triumphant life.

Already ill, Spadini composed this work depicting his wife Pasqualina. This painting can be defined as representing a sacred theme, in fact years earlier the painter had worked on a Finding of Moses that must be seen in relation to this head. The style here is severe and fading, and it seems to indicate the acceptance of the end of life. A beautiful and sad face expresses the ability to portray emotions, the main talent of Spadini, master of touch and colour.