Chiesa del Cestello 1944

Ottone Rosai captured Chiesa del Cestello with what looks like a crayon or pastel, layering strokes of blue, red, and green. Imagine Rosai standing there, squinting in the Italian sun, building up the image stroke by stroke. I think he probably felt the weight of the world, but still, he continued to paint. The crayon has been built up into something that is a little like fresco, a little like stained glass. I feel like I can see his hand, his arm moving as he worked, that pressure and gesture preserved on the surface. Rosai seems to be in conversation with other painters like Cezanne or even Giotto who have worked to capture this play of light across forms. But he's not just copying. He's adding his own little spin, making the world new. You realize that artists, like Rosai, are in an ongoing conversation, challenging and inspiring each other across time. And that’s what makes looking at art so exciting – that sense of connection to something bigger than ourselves.