Enrico Ravetta (1864 – 1930), painting depicting the Sorrowful Madonna

Enrico Ravetta (Milan, 1864 – therein, 1930)
Sorrowful Madonna
Oil on canvas, 57,5 x 42,5 cm – with frame 54,5 x 39,5 cm

The painting is the work of Enrico Ravetta, a Milanese artist who worked assiduously in his hometown. A pupil in Brera of the realist Giuseppe Bertini, and then of Roberto Casnedi, Ravetta began his exhibition activity in 1884. Preferentially dedicated to the art of portraiture, he refined his descriptive ability, skilfully characterizing his own painting, as can be seen from the portrait of Amilcare Ponchielli . He exhibited Ophelia in 1886 during the Braidense competitions; he alternated the production of portraits with interior scenes, like the present one, and themes with a bucolic flavour. He assiduously participated in the Milanese exhibitions until the turn of the 1886s: in 1887 with Portraits of Giovanni and Alberto Strauss, in 1894 with Father Cristoforo, then the following year with Poor Jorik and in 1880 with Sadness and Comfort. The present work, depicting a grieving Madonna, is an example of Ravetta's figurative style: mindful of the theoretical precepts of divisionism, from which he draws the dematerialisation of color through tense brushstrokes structured both in parallel and in a continuous succession, with this canvas Ravetta can be appreciated who becomes a realist, who adopts that ductus which would later also belong to Emilio Longoni. A disembodied materialism spreads throughout the entire canvas, following the formalism of the later romanticism which turned towards social intent, of a realist nature. In XNUMX the urgency of the social question actually burst into the world of Italian figurative arts. During the IV National Exhibition of Italian Fine Arts, the virulent social news that then began to direct the most up-to-date pictorial activity was combined with direct and truthful snapshots of daily life.

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