The conventional bio of Angelo Morbelli states that he was merely a proponent of the mildly discredited neo-classical divisionist (chromoluminarist) style of painting. An extreme relative to pointilism, divisionism was rooted in the concept that the separation of the of colours in a painting increased the luminosity of the image overall. As with most artists reduced to the historical importance of their technique, I feel that Morbelli was more than just a bookmark in some academic timeline; his images ARE luminous. To me they radiate a warmth that stands in defense against any sort of criticism of the concept.
In content, Morbelli seems to find the serenity and unity opposing situations; the bulk of his paintings are either extremely communal (often keeping the viewer quite at bay, closed out of the circle of characters. Notice the body language; each figure either has their backs turned to us, is looking down, or looks away from the obverse point of view). They radiate a beautiful solitude, reminiscent of another fave of mine, Carl Holsoe (my post about him HERE). As I write this, the springtime sun is making the air around me glow, and as I look at Morbelli's artwork, their contemplative nature seems to bleed into my own environment, creating a calming effect.
It's powerful stuff, from a painter that I admire.
In content, Morbelli seems to find the serenity and unity opposing situations; the bulk of his paintings are either extremely communal (often keeping the viewer quite at bay, closed out of the circle of characters. Notice the body language; each figure either has their backs turned to us, is looking down, or looks away from the obverse point of view). They radiate a beautiful solitude, reminiscent of another fave of mine, Carl Holsoe (my post about him HERE). As I write this, the springtime sun is making the air around me glow, and as I look at Morbelli's artwork, their contemplative nature seems to bleed into my own environment, creating a calming effect.
It's powerful stuff, from a painter that I admire.
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