Bruno Morato paints en plein air in Padua, the Euganean hills, Venice and its surrounding marinas, the many cities and towns he has visited, both in Italy and abroad. His gaze dwells but briefly on nature, the motif of the French Impressionists, ever-changing as it is: here a cloud passing in front of the sun, there the wind rippling a reflection in the water. One must be quick with the brush to capture the subject. Morato has a meditative process for the genre of portraiture and still life, and a more spontaneous approach to landscapes. And yet, in recent years the dichotomy of these two genres has melded, and this emerges precisely in the many multi-coloured scenes of his city: Prato della Valle, Via Carlo Cassan, Via Daniele Manin. It is in these that he portrays daily life in segments of piazze, and intensely foreshortened streets; and more lately, animated with slender and spry figures in motion. Now the lighting is nearly always that of a sun-soaked morning, limpid and bright, no longer melting each outline, as it had when he was studying the French Impressionists; now it neatly delineates the planes, architectural features, and movement of figures. In Bruno Morato’s motif, just as for the landscape genre, drawing wins back its innate measure and strength.
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