L’Ottocento pittorico a Napoli esce fuori dalla corte reale, (dove il pittore Hackert si faceva pagare profumatamente a centimetro quadrato i suoi dipinti e li riempiva di facilissimi” cieli”, insieme a scene di caccia in lontananza, a parate di soldati e cose cortigiane), e scende nelle piazze a dipingere in piena aria, paesaggi e vedute di quella magica città che è sempre stata Napoli. Forse allora era più magica perchè richiamava turisti e artisti romantici che venivano a spiegarsi la magia dei colori di Napoli. I giovani pittori preferivano dipingere a Posillipo dove era più facile vendere le loro opere piene di loce e di colori agli stranieri che preferivano Posillipo per godersi la Napoli del loro Romanticismo, il sole più splendente che avessero mai visto e la magia incomprensibile della terra ferace e fortunata dello sconosciuto Sud dalle mille rovine greche e romane. I pittori facevano quadri di piccole dimensione in modo da poterle vendere più facilmente a chi si avvicinava al loro cavalletto mentre associavano sulla tela impressioni e colori. Oitloo si avvalse dell’essere stato chiamato a dirigere la scuola di Belle arti napoletana e dell’essere piuttosto disprezzato dai vecchi pittori manieristi che non riuscivano a distaccarsi dai modi aulici di interpretare la realtà. Da Olandese, lui si incantava ai colori della natura che aveva scoperto a Napoli, e, da poeta qual’era nel profondo dell’anima, arricchiva lo spazio che riportava nei suoi quadri di tanti particolari di vita quotidiana che colpivano la sua sensibilità. Potè, così, avere degli allievi e dei seguaci, come i Gigante, i Vianelli, i Fergola che insistettero in quella scelta di ariosità di colore e di vita popolare che fu la caratteristica della pittura “di Posillipo” Ma si trattava di una pittura che incantava i tanti turisti che frequentavano Napoli e che, tornati ai loro Paesi, diffusero Napoli nei salotti, nelle corti e nella cultura dell’intera Europa. Il Vomero volle dedicare una strada ad Antonio Pitloo, e gli amici ed estimatori gli vollero costruire una tomba che, dopo l’intervento del Risanamento a Napoli, fu scomposta in più pezzi che ora riposano, dimenticati , in uno dei depositi del Museo di San Martino
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