Olio su tela - 30x120 cm - 2010 - Autentica dell'artista

Torna agli olii di Silvano D’Orsi

Her graphic design career culminated by becoming Manager of the Department of Advertising at “Ehad Le Ehad,” a school for multimedia and CAD. In 2005, Dganit Blechner began to express herself through digital art prints using mixed media.

Her unique style and new technique combine many different visual sources into a very colourful and personal composition. Public interest and success have followed, and now Dganit devotes herself completely to her artwork. Starting with her series exploring celebrities, Dganit puts a new spin on popular American culture. She also explores places, with vibrant prints capturing New York, Paris, Jaffa and Jerusalem. Recently, her new work studies the masters of art, from Botticelli to Picasso to Keith Haring.

Dganit uses the method of mixed media on canvas, combining vibrant colours with an excellent sensitivity for design. Her range of topics is quite extraordinary.

Her technique begins by composing a design on the computer with pictures chosen by herself and then, adding and incorporating elements of collage and photography to complete the work. Once the image is completed, it is then made into a glicee print on canvas (a high-quality printing process based on acrylic) and then again it is painted on with acrylic paints and varnish, sometimes with the addition of glitter and embossed characters and / or pieces of cloth. All of her larger sized works (i.e. except 20x20cm works) are made in very limited editions of eight copies and are signed and numbered on the back of the canvas.
Her works can be found in various collections around the world. Represented exclusively by Eden Fine Art, her works are on display in their galleries in New York, Jerusalem and Tel Aviv. In March, 2008, she exhibited her works at Chicago’s “Sofa Art Export” as well as New York’s “Art Expo”.

Dganit still works and lives in Tel Aviv, Israel, with her husband and son.

Works of  Dganit Blechner

In 1961, he worked in a basement studio in Via Bertolini in Rome and in 1962, moved to Prati where he spent the following 10 years in a rented studio in Via Pompeo Magno.

In 1964, he founded the group and its homonymous magazine “The Horseshoe”. In 1967, together with Daniela Romano, Giorgio Fasan and others, he made a film on experimental painting, called “The Big Apple” (screened in Rome), and which was about consumer society.

In Rome, 1968, he presented his first solo exhibition in the gallery opened by himself in Via Margutta and then, exhibited in a gallery in Chicago. In the same year, one of his paintings was exhibited at the “6th Review of Fine Arts of Rome and Lazio” at the Palazzo delle Esposizioni.

In 1969, his painting leaned towards satire and sarcasm. In Rome, 1970, he presented a set of paintings based on the theme “Process the bourgeoisie” and it was in the same year that he first exhibited in Milan and that Dino Buzzanti devoted an article to him in the National newspaper “Il Corriere della Sera”.

In 1972, he painted “The Chiechi, which is devoted to militarism. In 1973, he created his first etchings.

It was in 1970 that he got to know Salvatore Fiume and also the year in which he painted the large sized “Condemnation of Christ” for the Vatican Museums. The year after, his works were exhibited at Monaco of Bavaria’s “O+G+Grafic”.

In 1976, he created about one hundred drawings on militarism that were collected in the book “Long live the war” and in the same year he held a solo exhibition at Bedford House in New York, followed by the Euro-American Art Centre in Caracas and the gallery of Seiquer in Madrid in 1977.

In 1977, he met his wife, Rassana Zanpetti, and a year later, he held another solo exhibition at the Zentrum gallery in Vienna and a further one at the Forni gallery in Amsterdam.
In 1980, he presented his new sculptures: “An Officer and a Lady”, “The circle”, “The Photograph”, “The Engineer’s Family” and in 1981, he completed a group of works based on the theme of “The Duel”.

In 1982, he met Mino Maccari and in 1986, he held a solo exhibition at the National Museum of Castel Sant’Angelo. In 1987, he appeared on the cover of the February issue of the magazine “Arte” and in 1989, he paid homage to the French Revolution with a presentation of twenty watercolours titled “History of the Grande Armee” for the Bologna Art Fair. In 1991, he took part in the FIAT company branch in Pescara’s presentation of a retrospective exhibition that included works related to the cycle of “Inventions and discoveries”. In 1994, he presented his works of “Waterloo imaginary battle” at the Bologna Art Fair. A year after, “Italarte” published a collection of autobiographical writings titled “The history of a vocation.”

In 1996, he painted “The Discreet Charm” as well as producing his first studies of the series “The Flying Machines”.

In 1997, he began his studies for the etchings of the series “All men of the master plan”, which were to conclude in 1999.

In 2002 he held a solo exhibition at the Galerie Mark Peet Visser Heusden (NC) and in 2003 another solo exhibition called “Red Borghese” in the White Hall of the Palace of Caserta.

He died on 16th December 2005, in his personal study in Rome.

Oils of Borghese

Sculptures of Borghese

He was very young when he emigrated to Rome where he spent a period of self-taught, solitary formation. He moved to Milan in 1924.

The faces of the people from the South painted by Cantatore are like gnarled tree trunks without emphasis; in the faces full of wrinkles are written stories, suffering of life and strong, weather resistant bonds.

In order to realise his dream of becoming an artist, Cantatore designed clothes for a tailor and thanks to his mastery of language, became an art critic.

He began in 1929 to exhibit his works of art depicting landscapes, figures and still life and southern folk in a Gallery in Milan.

In 1932, he moved to Paris and got to know Modigliani, Picasso and Matisse who became one of Cantatore’s ideal masters.

It was in this period and his encounter with Matisse, that his palette became more openand bright. Back in Italy, he participated in the Venice Biennale, where entire walls were dedicated tohim and also at the Quadrenniale in Rome, where he was given an entire room for his exhibition.

Cantotore never became tied to ideological movements and groups and was always figurative. When he moved to Milan, he met Salvatore Quasimodo, Alfonso Gatto, Leonardo Sinisgalli and Raffaele Carrieri.

In 1940, he was appointed Professor of figure drawing at the Art School in Milan and then, as Professor of painting at the Academy of Fine Arts of Brera in 1950.

In 1941, he received the Premio Umberto award in Milan and in 1959, the Maggio di Bari award.

In 1963, he illustrated by etchings, nine poems in the book “Man of My Time” by Quasimodo as well as twenty sonnets of Petrarch’s “Canzoniere”.

In 1967, the poet Raffaele Carrieri asked him to illustrate his Volume: “Aphrodite hen” with lithographs and in the same year he exhibited at the Museo Civico di Monza, Palazzo dei Diamanti in Ferrara in 1983, and Montecatini in 1981, where he won the Life of Artists’ award.

He died suddenly in Paris on May 22, 1998 while on holiday with his wife.

Sculptures of Cantatore

He is a painter who started taking an interest in art at a young age by watching the masters Leonardo Spreafico and Osvaldo Pivetta. In the sixties, he further expanded his aesthetic interests.

Since 1961, he has organized over 100 exhibitions in Italy and abroad, receiving great public success and critical acclaim wherever he goes.

He has participated in important exhibitions in Italy, France, USA, Indonesia, Santo Domingo, Switzerland, Monaco and other countries, winning prizes and honours. Among them: the 1978 Campidoglio d’Oro and Special Prize of Culture / Italy, Rome; the Italian Trophy, 1st prize in the Autumn International Impressionism Competition section Lombardo, Milan; the Critics Prize, Piacenza; the Trophy the Madonna of Milan 1979 / 80 / 81 / 82; in 1979, 1st prize at the Caravaggio International Competition in the section of Impressionism; the Golden Peacock for painting, Milan; the International Trophy in Paris; the Swiss Trophy, Champion of Italy; World Oscar for Visual Arts, Monte Carlo 1979 / 80 / 81 / 82, in 1980; the Masters of Italian Art Trophy, Salsomaggiore; the Success Oscar, Milano; in 1981, the gold medal for landscape from the University of Sorbonne, Paris, 1982; Oscar of the Oscars “Us in Milan “, the Jolly Hotel in Milan; Marzocco d’Oro, Florence; 1984, appointed Colonel of Kentucky, USA; President of the Jury’s Prize at the Lyceum Press; 1985, Award “Domm of Milan to those Italians that count”; 1986, Popularity Trophy, Cortina d’Ampezzo; Caribbean Trophy, Santo Domingo; 1987, Africa Award, Mombasa; 1988, Sardinia Trophy; 1990, Success Oscar “Golden Man” for his painting, Madonna di Campiglio; 1991, the European Community Trophy, Lugano; 1992 Agenda d’Oro, Milan; 1993/1994, European Union Trophy “The Italians that count”, Milan, and in 1994 he was also invited to review the Modella nell’Arte event in Laveno with other artists and has been invited to partecipate many times again for its sucessive editions. He has also received the Ambrogino d’Oro from the City of Milan, the “Spiga d’Oro” from the Municipality of Cinisello Balsamo and has been appointed Knight of the Italian Republic.

Exhibitions

1977
Galleria Il Cavalletto  – Milano
Galleria Il Quadro – Busto Arsizio
Galleria Cavallotti – Monza

1978
Galleria Lombardia Arte – Milano
Galleria Il Cavalletto  – Milano
Galleria Cavallotti – Monza
Mostra itinerante Londra

1980
Galleria Il Porticciolo -  Stresa 1980
Galleria Cavallotti – Monza

1981
Galleria Il Colosseo  -  Roma 1981
Galleria ABA  -  Brescia

1982
Salone Europeo d’autunno – Parigi

1984
Le Fattorie di Stendhal – Oggiono (CO)
Museo di Owensboro – Stato del Kentucky USA
Galleria Ars Italica – Milano

1985
La Sfinge  -  Novara
Museo della Scienza e della Tecnica – Milano

1986
Galleria Delfino – Rovereto
Galleria Ars Italica – Milano
Villa Ghirlanda/Silva – Cinisello Balsamo (MI)
Galleria Ars Italica – Milano

1987
Galleria Banelli – Trieste
Studio Gianca -  Firenze
Centro Culturale Angerese -  Angera
White Sands -  Kenia
Galleria Ars Italica – Milano

1988
Castelsardo di Arona e Tradate,

1989
Sala Auditorium di Gorgonzola  – Gorgonzola (MI)

1990
Galleria Ars Italica – Milano

1991
Palazzo Comunale di Ponte di Legno – Ponte di Legno (BS)
Palazzo delle Terme di Bormio – Bormio (SO)

1992
Galleria d’Arte San Magno di Legnano – San Magno di Legnano (MI)

1994
Palazzo Isimbardi di Stradella – Stradella (PV)
Chiostro dei Frati di Lodi  – Lodi

1996
Palazzo Maffei – Verona
Galleria Studio d’Arte Due  -  Venezia
Comune di Lissone – Lissone (MI)

1997
Comune di Ponte di Legno – Ponte di Legno (BS)
Villa Ghirlanda -  Cinisello Balsamo  (MI)

1998
Famiglia Legnanese di Legnano – Legnano (MI)
Galleria d’Arte Ars Italica -  Milano

2000
Comune di Legnano – Legnano (MI)

2001
Arte Cultura Sala Olimpica – Brera (Mi)

2002
Salone Internazionale di Pittura e Scultura di Cannes

2003
Villa Casati Stampa di Soncino – Cinisello Balsamo (MI)

2006
Villa Casati Stampa di Soncino a Cinisello Balsamo 2006

Works of Chiappa

He still lives and works in Foggia. He studied at the Art Institute of Foggia and the Academy of Fine Arts in Milan.

He was a student of the master Cantatore and debuted in the 1970s with traditional painting – figurative painting in which represent scenes of daily life and problems of his land. His focus was on the human vitality of a small town, at the bottom of the Appenino mountain range, and the killing off of those moral, poetic and sentimental values which are typical of the place.

His artistic turning point came when he focused on the heavy social and economic crisis affecting the Daunian counties (his paintings are true documents of social unease and a report of the environment reality); it was a crisis that forced men and women to give up and abandon the fruitless labour of the fields. From the canvas of his paintings, the vague and tired eyes of women are distinct as are their melancholy faces (for their husbands and sons are far away) and heroic waiting for their return and a decent moral strength.

He was appointed as Professor in Vieste for the school year 1973/74 and it was there that he soon became fascinated by the Gargano region and its nature with cavernous rocks, its thick mantle of trees and the immensity of its horizons to the transcendent dimension which can be taken in when the eye subtly shifts from the sea to the sky.

The atmosphere is mystical: the cave of the Archangel Michael and the prior pagan cults are a clear testimony to this.

The Gargano region is a repository of traces of prehistory: the Paglicci cave is among one of the most important Paleolithic sites in Europe.

During the winter and spring afternoons, Michele Ciriciello became a nomad; observing untouched nature, he was a keen observer of the signs of plant life and thus, became a trace hunter of time and man. He reported the landscape features of the Gargano on canvas and the stories of prehistoric men hunting.

Then, no longer satisfied with the representing the reality of the Gargano, he intervened on rock, proposing the art of gesture. With chalks and markers, along the length of the crack, he drew little men, fading the gray calcareous stone and thereby creating the “stone photo”.

At the same time, his canvases were enhanced in terms of material: his technique became mixed, incorporating sand, pebbles and fragments of the area. This phase is called “Garganica”.

The bond with his territory became closer; Circiello searched, researched and found traces of prehistoric and protohistoric man, thus were born his canvases inspired by the Sipontine ones of the National Museum in Mandfredonia.

His search continued, this time directed on the troglodyte man and the Middle Ages; it was then, that he discovered the decaying churches with their solemn icons which had unfortunately faded away by moisture and mould. This discovery resulted in the birth of his icons and curvilinear lunettes which are not so much about the sacred images, as much as the poetry of their relic state.
Circiello has exhibited in galleries in many Italian cities and has participated in numerous art exhibitions.

Exhibitions

1970
Pro Loco – Siponto (FG)
Galleria Il Triendro – Milano

1973
Galleria Il Ricciolo – Milano

1974
Studio d’Arte 3 ½  – Foggia

1977
Centro Turistico Gattarella – Vieste (FG)
Galleria AR – Lucera (FG)
Galleria Sala d’Arte 14 – Piacenza
Galleria Illiria – Foggia

1978
Centro Turistico Gatarella – Vieste (FG)
Piccola Galleria, Pesaro
Galleria AR – Lucera (FG)

1979
Centro Turistico Gatarella – Vieste (FG)
Piccola Galleria, Pesaro

1980
Pro Loco – Bisceglie (BA)
Palazzo del Turismo – Senigallia (AN)
Sala Grigia, Palazzetto dell’Arte – Foggia

1981
Centro Turistico Gattarella – Vieste (FG)
Biblioteca Comunale – Vieste (FG)
Palazzo Comunale Baviera – Sanigallia (AN)
Museo Civico Palazzo d’Avalos – Troia (FG)

1982
Palazzo Celestini – Manfredonia (FG)
Biblioteca Comunale – Monte S. Angelo (FG)
Pro Loco – Siponto (FG)
Sannicandro Garganico

1983
Palazzo Dogana – Foggia
Galleria Velleri – Foggia
Pro Loco – Pietramontecorvino (FG)
Galleria Comunale – San Severo (FG)
Pugnochiuso – Vieste (FG)

1984
Pro Loco – Pietramontecorvino (FG)
Museo civico  – Monte S. Angelo (FG)
Peschici (FG)
Museo Civico Palazzo d’Avalos – Troia (FG)
Hotel Gargano – Manfredonia (FG)
Pro Loco – Orta Nova (FG)

1985
Palazzo Dogana – Foggia
Peschici – Foggia
Vieste – Foggia
Museo Civico – Monte S. Angelo (FG)
Rodi Garganico (FG)
Palazzo Celestini – Manfredonia (FG)
Studio d’Amico – San Severo (FG)

1986
Museo Civico Palazzo d’Avalos – Troia (FG)

1986-87
Studio d’Arte Aura Rupestre – Foggia

1988
Aeroporto Amendola – Foggia
Museo Civico – Foggia
Ipogei Paleocristani  della Salata – Vieste (FG)
Agorà – Larino (CB)
L’Ariete – Bologna

1989
Centro Arte – Termoli

1990-91-92-93-94-95-96-97
Ipogei Paleocristani  della Salata – Vieste (FG)

1990
Centro d’Arte Alfred Stieglitz – Modena
Centro Arpi Arte – Foggia

1990
Galleria Civica d’Arte – Modena
Palazzo dei Diamanti – Ferrara

1991
Sala grigia Palazzetto dell’Arte – Foggia
Galleria Ester – Milano / Bari
Pinacoteca Comunale – Macerata
Galleria Il giardino dell’Arte – Bologna
Galleria Cristalda – Foggia
Galleria Civica d’Arte – Modena
Palazzo dei Diamanti – Ferrara
Galleria Gabriel – Vienna (AUSTRIA)

1992
Galleria Fluxia – Chiavari

1994
Galleria Licandro – Vienna (AUSTRIA)

1996
Dal Big Bang al Monolito – Fiera di Foggia

1996
Galleria Aura Rupestre – Foggia

1997
Galleria Magenta – Magenta (MI)
Galleria Aura Rupestre – Foggia

1999
Galleria Artstudio – Portomaggiore (FE)
Galleria Mike Siebler – Puttlingen (GERMANIA)

2000
Gini Gallery – Milano
Centenari – Milano

2001
Sala Grigia, Palazzetto dell’Arte – Foggia
Artequadri – Camposanpietro (FE)
Art Gallery – Alba Adriatica (TE)

2002
Art Gallery – San Benedetto del Tronto (AP)
Afentaki Asimins Conta – Nea Smirni Atene (GRECIA)
Kreiss COllection Ibrahim Radwan Trading Est – Jeddah (ARABIA SAUDITA)

2003
Art Galleria – S. Egidio alla Vibrata (TE)
Arte Dimensione Edizioni – Foggia
Metropolitan International Arte – Lecce
Niselli Arte – Bassano del Grappa (VI)
Hermanos Gonzales Alconada – Santiago de Compostela (SPAGNA)
Lec Co. Ltd – Santa City (GIAPPONE)

2004
Elegants Art – Instanbul (TURCHIA)
Lec carrelet d’Or, Nancy (FRANCIA)

2005
Picma Arte – Verona
“Segni – Umberto Mastroianni / Tracce – Michele Circiello” Galleria Aura Rupestre  – Vieste (FG)
Villa Palladiana  – Caldogno (VI)
Galleria l’Incantatore – Roma
Galleria Valeno – Foggia
Art et Metiers – Metz (FRANCIA)
Galleria Tyani – Dortmund (GERMANIA)

2006
Galleria Magenta – Magenta (MI)

2007
Expo Arte – Bari
Castel dell’Ovo – Napoli
Galleria Alte Kirche – Harkingen (SVIZZERA)
Galleria Tyani – Dortmund (GERMANIA)
Galleria Zeugma – Colonia (GERMANIA)

2008
Villa Pisani – Stra (VE)
Parlamento del Cantone – Lucerna (SVIZZERA)

Works of Circiello

Her artistic debut dates back to the 1980s when her production covered mainly drawings and oil paintings. In the mid-80s, she began holding solo and group exhibitions and received art awards at national level. In the 90s, her study of colour led Maria Cristina Conti to work with mixed media, closely related to research carried out by the artist towards a style of painting that, through the emotion of colour, can tap into the deeper and sublime dimension of the human soul: spirituality.

In Germany, the artist discovered the works of Kandinsky, remaining fascinated by his power of expression, and while in Paris, she came into contact with the emotional force of Monet. In Italy, her spiritual master was Antonio Corpora and it was from this experience that the need to translate her inner feelings through painting was born; paintings which move the heart with or without references to the concrete.

In recent years, her exhibitions “Unlimited”, “Outer Limits”, “Aninformale” have been displayed in various parts of Italy and abroad. In 2003, Maria Cristina Conti was included in the book “History of Visual Arts in Prato of the late twentieth century” by F. Riccomini thus, consecrating her in the contemporary art scene. At the same time, the art critic Thomas Paloscia acting as chairman, appointed her as an associate to the old “Antica Compagnia del Paiolo” which is an old Florentine cultural reality, founded around 1512 and whose past associates include Andrea del Sarto, Filippo Lippi and other great artists as well as leading International names in art and culture. In 2004 and 2005, she was selected by the committee of critics of the Catalogue of Modern Art published by Giorgio Mondadori, Milan.

In the last few years, the artist’s works have been presented in permanent collections and museums. In 2007, Maria Cristina Conti was one of the ten leading female art in the book “The Spirit of Matter” published by Mondadori and edited by Paolo Levi. The prestigious publication accompanied a series of exhibitions, with works included the same publication, in several Italian cities. In the same year, the city of Prato organized a solo exhibition of the artist in its medieval spaces of “Cassero”- the castle keep within the ancient city walls.

Recently, the artist received the “Venice Biennale 2007 Bridge of Sighs” award which was presented by the art critic, Giorgio Falossi and by the Culture and Museums of the Province of Venice’s chief, Nicola Funari. In 2008, she received the International Award “Artiste de Montmartre” in Cannes. In 2010, the International Painting Prize “City of New York” and the exhibition “Italian Artists”, Word Fine Art Gallery New York. Maria Cristina Conti works exclusively with the San Giorgio Arte Investments and her artistic activity in Italy and abroad is documented on video and in art catalogues.

Works of Maria Cristina Conti

Silvano D’Orsi

In the 1970s, he moved to Perugia where he studied medicine.

Since 1978 he has lived and worked in Deruta. He is a ceramist, painter and sculpturer who is also a curious investigator of techniques and materials, painting with ceramic enamels in a very “contemporary” manner and with acrylics on canvas that recall the same force. His sculptures are skillfully created with different materials depending on the needs and aesthetic expression. The cycles of his bronze sculptures are important as they uncover and distinguish his true nature as a curious artist and expert.

His latest works, in “refractory” and in bronze and of large dimension, have received positive feedback and critical consensus among discerning collectors.

Collections of his works are rich, both in Italy as well as abroad. Several exhibitions have been held in Italy and other countries.

His past particpation in group exhibitions include those held in the following cities: Caserta, Numana (AN), Positano, Todi, Deruta, Perugia, Gubbio, Assisi, St. Stefano di Camastra (ME) Torgiano, Spoleto, Foligno, Orvieto, Gualdo T. (PG), Cortona, Vicenza, Verona, Venice, Trieste, Parma. Bologna, Ferrara, Faenza, Milan, Montecatini, Urbino, Forte dei Marmi, Viareggio, Nola, Bari, Telese (EC), Varese, Bucharest, Warsaw, Ljubljana, New York, Los Angeles, Miami, Limoges, Strasbourg, Graz, Koper .

Exhibitions

1978
Galleria Il perfezionista – Perugia
Festival dei Due Mondi – Spoleto

1980
Galleria Comunale – Deruta

1981
Hotel Melody – Deruta
Galleria Comunale – Todi

1983
Galleria Comunale – Todi
Palazzo Priori – Perugia
Arte Fiera – Vicenza
Galleria Comunale – Deruta
Fortezza da Basso – Firenze
Galleria Comunale – Foligno
Festival dei Due Mondi – Spoleto
Galleria delle Erbe – Verona
Galleria Comunale – Gualdo T. (PG)
Municipio – Piedimonte Matese (CE)
Agosto corcianese – Corciano (PG)

1984
Palazzo Priori – Perugia
Galleria Comunale – Deruta
Festival dei Due Mondi – Spoleto
Arte Fiera – Vicenza
Galleria Comunale – Gualdo T. (PG)
Municipio – Piedimonte Matese (CE)
Rotary Club – Milano

1985
Galleria Chalton – Roma
Galleria Comunale – Varese
Municipio – Gioia Sannitica

1986
Centro Culturale Botticelli – Caserta
Galleria Susan Alexander – Los Angeles
Municipio – Telese (BN)
Municipio – Alife (BN)
Galleria Prestige – Parma
Galleria delle Erbe – Verona
Galleria Le Logge – Assisi
Municipio – Caiazzo (CE)
Galleria Lopopolo – Milano
Galleria Comunale – Palau (SS)

1987
Centro Culturale Botticelli – Caserta

1988
Casa di S. Ubaldo – Gubbio
Arte Fiera – Bologna

1989
Galleria Le Logge
Arte Fiera – Bologna

1990
Arte Fiera – Bologna
Galleria Campanile – Bari
Galleria Arpi – Foggia
CERP (Centro Espositivo Rocca Paolina) – Perugia

1991
Galleria Le Logge – Assisi
Galleria delle Erbe – Verona
Galleria Comunale – Gubbio
Palazzo Maccarani – Roma
Arte Fiera – Bologna

1992
Arte Fiera – Bologna
Municipio – Gioia Sannitica (CS)
Agosto corcianese – Corciano (PG)

1993
Arte Fiera – Bologna
Europa Arte – Ginevra
Galleria Z – Zurigo
Galleria Miniaci – Positano

1994
Galleria Miniaci – S. Gimignano
Centro Fiat – Perugia
Festival dei Due Mondi – Spoleto

1995
Galleria Freud – Montreux

1996
Palazzo della Penna – Perugia

1997
Municipio – Piedimonte Matese (CE)

1998
Agosto torgianese – Torgiano (PG)

1999
Galleria Miniaci – Positano

2000
Galleria Arpi – Foggia

2001
Centro Espositivo – Deruta
Galleria Comunale – Nola

2002
Galleria Serio – Napoli

2003
Centro Fiat – Perugia

2004
Galleria D’Amico – Roma
Alexander Gallery – Los Angeles

2005
Centro Espositivo – Deruta
Palazzo La Bella – Vico del Gargano (FG)
Centro Espositivo S. Vidal – Venezia

2006
Centro Espositivo – Deruta
Municipio – Gioia Sannitica (CE)
Museo della Ceramica – Cerreto Sannita (BN)
Centri Arti Visive –Trieste

2007
Artita – Pirano (SLO)
Kunstlerhaus – Vienna
Galleria Bersani – Capri
Galleria Canova – Napoli

2008
Artita – Pirano (SLO)
Centro Espositivo – Deruta
Gaia Gallery – Marsciano
Museo del Tabacco – S: Giustino (PG)
Galleria Autentica – Viareggio
Galleria S. Giorgio – Forte dei Marmi

2009
Artita – Pirano (SLO)
Centro Espositivo – Calvisi (CE)
Galerija Klinec – Medana (SLO)
Centro Espositivo – Bettona (PG)
CERP (Centro Espositivo Rocca Paolina) – Perugia

Oils of D’Orsi

Sculptures of D’Orsi

Giorgio De Chirico

In 1900, he enrolled at Athens’ Polytechnic, where he attended lessons for two years on drawing and painting. Right from being a child, he showed a prominent preference for painting, copying pictures from various publications. He received his first private tuition from the Greek painter, Mavrudis.

Unfortunately, his father died in 1905 and so, he returned with his family to Italy and subsequently, moved to Monaco of Bavaria.

Between 1905 and 1909, he attended the Academy of Fine Arts in Monaco and was influenced by German culture, art, literature and philosophy. He read Schopenhauer and Nietzsche, met and studied the art of Arnold Bocklin and Max Klinger, who he wrote acute critical essays about afterwards.

He arrived in Milan in 1909, where he painted strong bockliniana-inspired pictures often, gripped by critical moments of dark melancholy. In 1910, he moved with his mother to Florence and began to paint subjects, trying to translate that mysterious and powerful feeling found in Nietzsche’s books: the melancholy of beautiful autumn days, afternoons in Italian cities, all of which were the prelude to the successive “Piazze d’Italia”.

In 1911, he and his mother reached his brother in Paris (stopping over in Turin, where he was deeply influenced by the city’s architecture).

He exhibited his first three works at the Salon d’Automne in 1912 and became acquainted to P. Valéry and G. Apollinaire. However, he was still alien to Cubism and avant-garde experience in general. He was in search of his own language, painting various subjects, with dream vision as a common base.

In 1913, he exhibited three works at the Salon des Indipendants and then four more at the Salon d’Automne. A year later, he attended the literary and artistic scene of the Ecole de Paris together with his brother who was a much appreciated musician- as Apollinaire and Soffici wrote about him at the time. It was during those years that De Chirico invented and developed mysterious poetic magic themes of extraordinary imagination: architectural visions, Italian city squares, solitary statues, objects absurdly approached by disturbing suggestion and mannequins.

He was recalled to Italy for the beginning of the war in 1915, but was declared invalid and was therefore, able to continue painting.

The impression produced by Ferrara’s urban environment and architecture proved to be essential to the development of his vision as he began, between 1916 and 1917, to paint such works as “The restless muses”, “Hector and Andromache” and ” The finder “. The influence of his poetic world is crucial to the work of Carlo Carra, his military hospital companion he met in the spring of 1917. He also took part in frequent artistic discussions with Filippo De Pisis.

He moved to Rome in 1918, where he painted two self-portraits as well as a portrait of his mother. He attended the museums of ancient art, making copies, and experienced a major revelation whilst in front of a painting by Tiziano. He collaborated on the journal “Plastic Values” and was in the company of writers and artists from the magazine “La Ronda”. Both his paintings as well as his writings of great interest were published.

Between 1920 and 1924, he alternated his stays between in Rome and Florence. In his paintings, an original interpretation of classical and romantic interest for the great technique of the old Renaissance masters was more than ever present. The Russian painter, Locoff, started him off to the secrets of tempera grassa paint and he went on to paint the series of Roman Villas, the Prodigal Son and the Argonauts. He participated in various important exhibitions. In 1925, he returned to Paris and his new painting was attacked by Surrealists. In 1926, he exhibited at the Guillaume gallery, where an American collector would buy many of his works.

In 1927, he painted on the themes of Archaeologists, Horses on the beach, Gladiators as well as Mysterious Baths, and in 1928, he held a solo exhibition in London. De Chirico’s art is recognized by the highest Dadaists and Surrealists (Ernst, Magritte and Dali- to name a few) as the source of their research and creations. Many German artists have been heavily influenced by him as well.

In 1927, “Hebdomeros, le peintre et son genie chez l’èerivain”, the book, was published and in 1930, he participated in many international exhibitions where he met Isabella Far.

The following years were marked by a series of exhibitions, both in Italy as well as Europe and the United States. He lived in Paris, New York and Milan until he came to Rome, where he resided for the last years of his life. He died in 1978.

Lithographies of De Chirico

He boasts participation in several solo and group exhibitions around Italy which have also brought him many awards and significant recognition.

Many written articles about his work have been signed by well known art critics and his works are in numerous private collections in Switzerland, Italy, England, in permanence at the Modigliani Gallery in Milan.

In his works, Edoardo De Lucia proposes an everyday world, suspected of love and human participation in the less obvious features.

The world he chooses to speak about is that of humble people, of peasants, the interiors of poor houses and the geometric patterns of small towns perched on hills.

The visible figures in his paintings are vividly captured in warm moments of life and have anonymous faces because they personify the universal projection of a motivating message-not the actors in a cool documentary.

The landscapes are typically Mediterranean and special attention is paid to the use of colours that vary depending on the subject: they are alive and vibrant in the sketching of figures and their familiar objects- to highlight the complexity of family life they express- and muted for the background- an atmosphere devoid of all suggestions.

Works of De Lucia