Philosopher

Oil on cardboard. Signed lower right. Coming from a private collection in Pavia. The painting proposes a subject taken up several times by Primo Carena, both with groups of several characters inserted in a landscape, and with a solitary figure as appears in this painting, which belongs to the production of the 1950s. The man on the beach, in the seated pose leaning with his elbow on a marble capital, and in the cloth resting on his legs, recalls the elderly character sitting in a work by De Chirico, the Salute to the Argonauts, and well underlies the reference to painting metaphysics that the painter from Pavia wanted to express in his figure paintings of the 1950s and 1960s. The work is presented in a frame.

Trees in the Snow, 1978

Oil painting on canvas. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 73 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The lake landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a style frame. It is published on page 75 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Via di paese, 1941

Oil painting on canvas. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 59 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The view of the town well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Controluce collinare, 1960

Oil on cardboard. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production painting by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

L'ora delle Messi, 1974

Oil painting on canvas. Signed and dated lower left. The painting, coming from a private collection in Pavia, is published on page 74 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The hilly landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame

San Pietro in Verzolo

Oil painting on canvas. Signed lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame. on page 66 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The view of the small village on the outskirts of Pavia, seen from the countryside, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends" to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.