Fabio Colussi. The Light of Central Europe at Venice
In these paintings Colussi reconstructs in a delicate, measured poetic vein the fascination of Venice and its lagoon, refining in skilful, balanced fashion its bright, vivid language through a captivating and tangible emphasis on colour, which still leaves room for reverie.
Reminiscent of a neoclassical vein, which belongs culturally to Trieste, his city of origin, the artist continues in a totally personal fashion the ancient tradition of those painters and landscapists working in Venice in the C18th such as Francesco Guardi and Canaletto, closer to the former in poetic inspiration, to the latter in a more functional interpretation of places. But at the beginning Colussi also looked at other painters and landscapists, in this case Julians such as Giuseppe Barison, Giovanni Zangrando, Ugo Flumiani and Guido Grimani, all in one way or another linked to the great Venetian tradition of the pictorial and the colouristic, which represents an important point of reference, in the late C19th and the early C20th, next to the Munich Academy of Fine Arts, for Triestine artists.
A further fundamental mainstay for them was in fact Austro-German culture. And it is not by chance that in the work of many of these there frequently appears a blue-grey light, which more than a colour represents an atmosphere, a sort of evocation of that sturm und drang which in the German world provided the basis of Romanticism: points of reference which constitute interesting keys to the understanding of Colussi’s painting, in particular as regards his interpretation of Venice and its lagoon, which the artist re-examines through insight, brilliance and inspiration which allude instinctively to the lively brigthness and vivid and fortunate venetian colorism, as well as to the visual culture of Central Europe.
Today the painter has thus managed in the course of time to create, in outlining the view, his own manner, strong and exact but at the same time simple and essential. What brings the landscape to life is, above all, the light (whether day or night), obtained by means of repeated and refined layers and a decisive yet soft emphasis on colour.
Balance and sensitivity characterise his paintings, in which Colussi well knows how to interweave harmoniously the language of the past with the exacting linearity of the modern. There issues a Venice both shining and historical, in which the ancient, refined buildings merge with a sky and sea of an intense blue, scored by vivid counterpoints of light which present us with an ideal Venice, sometimes magically a little northern, such as perhaps Goethe, Winckelmann and Foscolo dreamed of; while the lagoon reflects them, always through the light, the peace and the tranquillity that pervade those places.
Arch. Marianna Accerboni