6 – The Castiglionese scene
In his writings, Oreste Marini himself, the founder of the “Castiglionese scene”, recalls the days spent at the Lilloni house in Medole and the discussions with Umberto’s father, who dreamed of a future as architect for his son. It was Lilloni who arranged the meetings, including Marini’s encounter with Del Bon and Persico in Milan. This meeting between the two was so decisive that, as Marini himself recalled, “I immediately felt in the air the need for a radical thematic and chromatic renewal of Italian painting, and Lombard painting in particular”. Speaking of his relationship with that kind of painting, Marini declared “I latched onto to this invention, this “Chiarismo” born in the mind and heart of Del Bon […], attempting a thematic renewal during the execution of the painting sur le vrai through the juxtaposition of chromatic pastes and pushing towards white as a pictorial subject”.
In Marini’s works shown here, we can grasp the vitalistic and restless lines of the portrait. L’Autoritratto movesfrom light shades to darkening ones, almost as if approaching a pensive painting that folds in on itself. The Ritratto di Giovanni Tosi rediscovers the light sensibility and the two-dimensionality of the Thirties, showing a unique and yet shared style.
Maddalena Nodari, known as “Nene”, was born in Castel Goffredo in 1915 and came to be referred to as “the lady of Chiarismo“. Her importance in this aesthetic community is beyond doubt and in the work exhibited here, we can grasp the strength of her research, completely based on the generative power of colour, whose immediate reference points, besides Impressionism, prove to be Cézanne and Matisse.