Giuseppe Pellizza da Volpedo – Il quarto stato
1896. 255x438
Location: Pinacoteca di Brera, Milano.
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At the forefront, three figures stand out: a man with a prominent beard, a woman beside him, and another man walking slightly ahead. The bearded man’s posture is relaxed, his hands open as if in defiance or perhaps in an invitation to witness their movement. The woman walks alongside him, her gaze directed forward, embodying a quiet strength. The figure leading the procession appears more resolute, his body angled towards the viewer, suggesting a sense of purpose and direction.
Behind them stretches a vast crowd, blurring into a collective mass. Individual features are indistinct, emphasizing the group’s unity and shared experience. Their faces are largely obscured, contributing to an impression of anonymity and representing the countless individuals who comprise this social movement.
The background reveals a rural landscape – houses with tiled roofs nestled amongst trees under a darkening sky. This setting underscores the origins of these people; they seem to be emerging from a traditional agrarian existence. The horizon line is high, compressing the depth of field and drawing attention to the procession itself.
Subtly, there’s an element of tension in the scene. While the figures appear resolute, their faces are not overtly expressive, hinting at underlying anxieties or grievances. The dust kicked up by their feet suggests a journey fraught with difficulty. The overall effect is one of quiet rebellion – a collective assertion of dignity and demand for recognition from those who have been marginalized. The painting seems to explore themes of social justice, the power of collective action, and the struggle for improved conditions among the working class.