Luigi Zuccheri (Gemona del Friuli, 1904 - Venice, 1974) radically changed his own technique and iconography during the Second World War.
As a young artist, he studied painting under Alessandro Milesi and Umberto Martina from whom he mastered the oil technique. At that time his subjects were grounded in the Venetian tradition: views of the Lagoon, still lives, portraits, dressing tables. After 1940 the human figure gradually disappeared from his works, to come back again after the end of the War in miniaturised dimensions. At the same time Zuccheri shifted from oil painting to tempera becoming the definitive master of the emulsion.
He operated a lot of variations on the same theme; his works, whose scale is always constant, are driven by free associations. Pumpkins, cuttles, bees, weeds, tower higher than high-rise buildings, whilst human figures look terrified and yet plausible in their new tiny dimensions. Zuccheri’s depth of perspective makes the process of reading his paintings even more elaborate, counteracting the dangerous excess of symbolism that such bizarre proportions may suggest.