Landscapes, such as burnt lands, skeletal trees and hills which go after in fast series like a lunar landscape: Crescimanni interprets Siena clays in that way, the unconfined scenario which extends between Pienza, Montepulciano and Buonconvento, representing actually the rocky flakes which fill paintings of Duccio, Simone Martini, Ambrogio Lorenzetti and their Siena disciples who, till the end of Four Hundred’s, painted the hills of their land without trying to make its roughness milder.

Using an original pictorial technique which requires an experimentation not always taken for granted, Crescimanni sets his palette with ochre shades, burnt land, dark-green, underlining a melancholic vein, prone to reflection: the weaving of paintbrush touches tidy goes on the canvas, leaving regularly dense colour marks and like clot spaced out with other zones where paintbrush goes free, just covering the prepared canvas with liquid colour.

He carries out a material style that seems to be the most suitable to reproduce the effect of wild nature, so well-beloved by English painters of 800’s, but at the same time recreated by the artist who identifies his own internal path in, converting the real landscape in a soul landscape.