Titled “Max Pellegrini: A Retrospective Exhibition
,” the show features paintings dating from early in the artist’s career to now. Pellegrini draws freely from a range of disparate sources, including
paintings, pop culture and contemporary life, Italian music, religious iconography, literature, and fashion. He meshes these references in landscapes and loosely narrative scenes, often featuring human figures from across different eras and environments. In an oil-on-canvas composition titled, Gli Amanti che si amano no ci Sono per Nessuno
(2011-2012), for example, modern women meet babies meet an angel in a gold-toned landscape. The artist seems to be presenting his own take on the story of The Annunciation in this work. Before the angel, a baby sleeps with one hand clutching a set of delicate black and red strings, which stretch across the bottom of the composition to connect with a female figure. Her eyes are closed and her hands are clasped to her chest as she receives news from a second female figure. Such a scene resembles those found in the great frescoes and canvases in Italy, in which Mary receives word of her divine pregnancy from an angel.