In the vast realm of art, the landscape is never merely a collection of trees, hills, or open skies. It is a refuge, an enigma, a silent companion that welcomes and reflects the depths of the human spirit. When an artist gazes upon a lush expanse or an endless sea,
There is something that both attracts and profoundly unsettles us in these winged figures. Where the human meets the sacred, the angel appears, suspended in an undefined dimension between heaven and earth. A multifaceted and mysterious figure, the angel embodies meanings that oscillate between the sacred and the profane, between
Justice and injustice do not escape art; indeed, justice in art appears not only as a symbol of abstract morality but also weaves itself into human truths, ethical dilemmas, and the powers that define it. Throughout the centuries, art has offered a mutable perspective on justice—from law as social harmony,
Nothing fascinates more than that which exists solely as a possibility, that which one cannot assert with certainty exists. Dream and mystery intertwine in art—as in our imagination—hovering between the visible and the invisible to offer new levels of interpretation. At the beginning of the century, Marc Chagall plunged into
A plethora of repertoire—or rather, an inflated sample (one can only bemoan the dilemma of choosing one nomenclature of distinction over another due to an excess)—characterizes the field of landscape painting, where nineteenth‑century quotations of the umpteenth kind continue to claim the lion’s share, still “inspiring” many illustrators, especially those
For Alessandro Casale, painting was a happy—and I believe, unexpected—landing, since he embarked on its practice at an age when the coordinates of one’s interests and vocations are already decidedly fixed, especially for someone who has consolidated a significant professional commitment—in his specific case, in the legal field—that is neither