Urban Landscapes | UniCredit Art Collection

Over time, artists have chosen to depict the urban landscape for various reasons. From a commercial standpoint, there was a high demand for artworks portraying landscapes. Moreover, the fact that artists were living in the cities represented a key opportunity for them as they had plenty of architectural and artistic influences to draw inspiration from.

Finally, artists’strong anthropological interest made them truly fascinated by both cities and their inhabitants. Through their art, they captured a snapshot of their time, representing scenes ranging from central districts to suburbs.

The presence of artists in certain neighbourhoods has often suggested that these areas were gradually gentrified. However, by examining the representation of these territories, historians have also grasped the urban dynamics in which artists were involved.

Jiang Pengyi’s work, “Unregistered City”, stands out as an example. His artworks focus on the rapid changes occurring in Beijing’s urban landscape and, more in general, in that of Asian cities. With his works, he represents how constant economic growth impacts the social fabric within the urban area.

The representation of the urban landscape has been a constant in the artistic scenario over the centuries. The broadness of subjects related to the theme makes the portrayal of cities an interesting observatory. Indeed, it enables the study of cities’ evolution from a social, urbanistic and architectural perspective.
Giulio Gorra
Cortile con giocolieri, c.1850-1900
Oil on canvas / Olio su tela / Öl auf Leinwand
29 3/8 x 23 5/8 in
74.5 x 60 cm

It is intriguing to observe how artists choose to depict the reality of their time shedding light on specific aspects of their cities.

Following this trajectory, urban landscapes can be monumental or architectural, as seen in Bernardo Canal's depiction of St. Mark's Square, or can indulge in more intimate scenarios such as the one chosen by Giulio Gorra in his “Courtyard with Jugglers”.

The urban landscape also offers the opportunity to understand how artists experience their city context. Ascanio Luciano and Mascacotta, for instance, encapsulate the melancholic memories of fallen empires among which people roam heedlessly, heedless of their greatness. Meanwhile, through his photographic lens, Vincenzo Castella depicts lively cities along with their beauty and contradictions.

It is also interesting to observe the evolution of the media used by artists to represent urban landscapes over time. In the 18th century, Bernardo Canal and Luca Carlevarijs recurred to the traditional oil on canvas. Centuries later, in 1920, Maurice Utrillo experimented with oil on cardboard, while Olivo Barberi and James Casebere express themselves through contemporary photography.
Olivo Barbieri
Roma 1995, 1995
C Print, edition 1/6 / C Print, edizione 1/6 / C Druck, Auflage 1/6
47 x 86 3/8 in
119.5 x 219.5 cm

In recent years photography has emerged as the most prevalent medium for capturing urban spaces. The camera faithfully portrays reality, as it is perceived by the artist, while also allowing for creativity.

Indeed, despite its appearance as an objective medium, photography offers an interesting creative opportunity for artists, as shown in Olivo Barberi's work “Roma 1995”. In this case, the artist depicts the Colosseum – one of the most iconic and ancient symbols of the Roman landscape – highlighting its contrast with the contemporary city, as well as using the subject to reflect on the smallness and loneliness of the human being compared to the grandeur of the metropolis.

The urban landscape thus becomes not only an expression of the evolution of society and city planning but also a source of reflection on the human condition.

Carlos Garaicoa stands out as another contemporary artist who originally represents his hometown, focusing on the interaction between architecture and the city. In his series “Lo viejo y lo nuevo (XX)” he uses antique engravings on which he cuts out and arranges vertically the contours of the facades of the buildings depicted. This technique creates theatrical backdrops between black volumes formed by shadows and abstract shapes.
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