Texts by: Anna Maria Parlato historian and art critic
Fiat Lux et Lux fuit: God said that there was light and there was light. Fiat is the first expression of the Old Testament and is also the main verb of the first sentence pronounced by the Mother of God in the Gospel texts.
It is the beginning of everything, in the Bible and in the New Testament the same Latin verb is pronounced by the Virgin Mary in response to the angel of the Annunciation: "Ecce ancilla Domini, fiat mihi secundum verbum tuum. Et discessit ab illa angelus ”. This is what Mary replies to the angel on the day of the angel Annunciation.
Here is the servant of the Lord. In fact, "ancilla" really means servant, slave. His words - reported in the Gospels - underline an evident subjection.
Categories: Arte Moderna
Salvadori's painting takes its cue from the late 15th-century iconography of Sandro Botticelli's Annunciation, commissioned to the Florentine artist in 1489 by the money-changer Ser Francesco Guardi for the family chapel in the church of Santa Maria Maddalena in Borgo Pinti in Florence. In the work entitled Fiat Lux, there are clear references to Botticelli's painting such as the schematic and essentiality of the composition in a sober setting in which the colours purple and lapis lazuli blue have a strong predominance before dissolving into the abstract Tuscany landscape.
The profile of the Archangel Gabriel and the lily are present in Botticelli's work, while the shining star, the divine spark, is a detail Salvadori has contrived to explain what is about to happen and to emphasise the beginning of it all.
The Tuscan landscape that transpires in the distance, of dechirican memory, is a port. All the rest of the composition in squares of pure colour and gold represents the textures of brocades that blend with the colours of the surroundings. Her brushstrokes are imbued with a strong emotional charge, an energetic tension due to the refined contrasts, the polychrome cuts of blues, purples, reds, yellows and greens, sometimes diluted to achieve fine glazes and luminescent effects.
Salvadori confidently sweeps through all the facets of colour, outlining almost spontaneous, heartfelt forms that smell of the memories of a land familiar to her, enveloping, that leaves art free to glide in a sky truly tinged with blue and in a deep, crystal-clear sea, whose existence is heralded by the port. Art for Salvadori is visual bliss, serene immersion in the lyricism of the landscape, inexhaustible taste of things lost in memory. Entering this pictorial world is like being enveloped by a poetry made of soft colours, of lights balanced in sinuous brushstrokes and guided by a natural artistic instinct, it is the "shock in my town" that Battiato sang to escape from paranoia, it is going back in time and getting closer to the source of true art made of simplicity, purity, the joy of observing and expressing without constraints or constraints.