The Florentine exhibition of 1922 was fundamental for the artistic history of the Italian twentieth century.
It was entitled "Italian painting of the seventeenth and eighteenth centuries".
The curator was Ugo Ojetti, who collected more than a thousand masterpieces in 48 rooms of the Pitti Palace, assisted by a team of commissioners chosen from the most authoritative and brilliant art historians of the time from Wilhelm von Bode to Hermann Voss, from Lionello Venturi to Roberto Longhi.►
Certain aspects of Antonio Nunziante's work dedicated to Caravaggio in the very recent "Castel Sismondo exhibition" in Rimini had intrigued me.
In paticular the concentration on a single painting by the Lombard master, the St. Francis receiving the stigmata of the Wadsworth Atheneum in Hartford, Connecticut; the complex relationship between the artist and the inspiring masterpiece; , ►
As if before and after there was nothing, or that nothing important, in the history of art, could pass without the mediation of its filter. As if the meaning of modern painting, and of painting more generally, had finally been identified, freeing post-nineteenth-century artists from the condemnation of having to resort to the precariousness of experimentalism. ►
Just a year ago, in his studio closed among houses, railings of time overlooking the mountains that little by little are scattered with blessed snow, Antonio Nunziante closed with a very beautiful cycle, dedicated to the interpretation of a youthful masterpiece by Caravaggio. ►
Cool late summer mornings are really ideal for a ride on a motorcycle, before the long winter break that will inevitably see it parked in the garage. A good excuse, in short, for a half-hour drive to Giaveno, where master Antonio Nunziante works in the historic center of the town in Val Sangone. His is certainly not a buen retiro, but an intelligent logistical choice: ►
The Neapolitan is, by divine right and by birth, not surrealist but extra-real.
"Journey through time" by Antonio Nunziante is the most suitable title that this Neapolitan painter has given to some of his recent works. He gave it, aware perhaps, with intuition for sure, for three different reasons. The first, undeniably the most attractive for the cultural anthropologist, is the one that refers to his Neapolitan origin. ►
Arnold Böcklin's famous motifs are omnipresent in the work of Antonio Nunziante, first of all that of "The Island of the Dead".
This landscape full of mystery evidently represents for Nunziante a sort of dream island, a secret place of contemplation in which the artist would yearn to withdraw.
The steep rocky islands on the sea of Nunziante - a recurring theme in his work - have a single cavity. There the artist would like to pause to abandon himself to his thoughts, his desires, his dreams. ►
Antonio Nunziante privileges in his work intelligence, reflection and reasoning.He is one of the major artists of the late twentieth century and early twenty-one century. He achieves the perfection in what is purely beautiful, in what is balanced. Nunziante take care of experience, memories, hope and emotion. He emphysising timeless elementary and universal shapes.. ►