Self-portrait
This large painting was inspired by a photograph of the painter on the beach, which he used in 1934 to compose a painting that maintained the setting beside the sea. The following year, Vagaggini reworked the same image, setting it now in the broad expanse of the Maremman countryside, silent
Panorama of Manciano
The town of Manciano in the background sheds its urban identity to become a solid, irregular construct of plastered bricks suggesting a compact, cohesive structure, analogous to the haystacks in the foreground. The painter emphasizes the balance achieved between man and nature in his native land, which had given him,
Olive Grove
The light, bright colours suggest the painter’s joy at depicting the serene harmony created between the silver of the olive trees, the acid green of the pasture grass, the white fleece of the sheep, and the scattered red spots of the poppies and the shepherd girl’s dress. With affection and
Oak Trees
The clouds thicken, threatening rain, above the bare oak trees, dressed for winter. The air is cold, only the light green of the grass evokes the rebirth of a warmer season, in a painted message of positive faith in the passage of time and the fruitful changes of season.
Woman Gathering Olives
The painter chose the watercolour technique to make this piece particularly luminous and light in colour, so as to render visible the harmony of existence and the balanced relationship between human beings and nature.
Wheat Field
After approaching social issues with a realistic eye, from 1930 Pascucci withdrew to Manciano, his birthplace, and devoted his efforts to landscape paintings, capturing the vital, luminous aspect of Maremma. He often portrayed peasants at work, not emphasizing their hard labour but rather their total immersion in the rhythms of
Countryside in Winter
The sawed-off tree trunk, in the middle of a clearing covered with frozen snow on a gray winter day, conveys the painter’s loneliness and his discouraged view of the future, which he intuited would be brief.
View towards Montalto from the Aldi House
A study of the sky and light effects that recalls examples by Valenciennes and Corot, reminding us of the importance for Aldi of his studies in Rome thanks to the Biringucci fellowship. That period introduced him to many artists at the Accademia di Francia, following the advice of his teacher
View from the Terrace of the Aldi House
From his home, the painter chose to block the view in the foreground by the house across from his, leaving space on the right for the vastness of the plain and the grandeur of the sky crossed by dark clouds heavy with rain. Aldi seems here to depict a metaphor
View of Mount Argentario and the Isola del Giglio
The unusual framing of the distant heights suggests the isolation and reclusion felt by Aldi during his frequent periods of convalescence spent in his ancestral home. From a window or the little terrace of the house, the young artist could see the jumbled alternation of land and sea, and paint
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