Antonio Di Viccaro, Italian (1935 - )

Antonio Di Viccaro

In the 1960s, Antonio Di Viccaro found his dimension in society. In this period he experimented with materials, using stucco tinted with strong colors and a pallet knife to create his paintings. The colors were almost monochromatic, his houses shades of gray and brown.

Di Viccaro's first works were already subjected to an internal logic. He organized quadrates of color, modulated by the thickness of the stucco, in a metric way so that when viewed as a whole they created a singular, unpredictable optic-chromatic effect. Recurrent characteristics emerge in the stucco. These, however, should not be mistaken for thematic repetition, because the polychromatic stucco on the almost monochromatic surface is charged with shadows, secrets, and an ever changing tension.

In the 1970s, the party with color began. Di Viccaro painted perfectly readable landscapes, which showed traces of a controlled geometry and a liberal, more figurative expression. At the end of the 1980's, after success abroad, the artist had accumulated a mass of work. Having painted for more than thirty years, dedicating himself to the study of color, his style underwent an evolution, and he became one of the “New Italian Landscapists”. At this point Di Viccaro wanted to verify his style. He researched a series of new directions, bringing back to his work a new richness and reconfirming the validity of his work during the preceding period.

Antonio Di Viccaro remains true to his style; an ever deepening expressiveness acquired through the necessity to continually increase the intensity of color and light in his paintings. Antonio Di Viccaro paints sun drenched landscapes, the moods of the sea, summer days bursting with color. His world has not changed; it has been enriched, as well as his style. Using his experience with materials he creates a tension in his paintings, which intensifies the observer's physical sensations.

Di Viccaro experiences nature like a visceral love. His paintings show the complete pleasure of one who immerses himself in a sea of trees and leaves, of luxuriant blossoms and flowering vines, and participates in the sensuous, tumultuous, incessant life of vegetation. Di Viccaro's way of painting gently adapts itself to this impetus of existential identification with the scenery. Landscapes of Venice or the Amalfi Coast dissolve into violent emotions of color. As in a field the colors of the flowers, the blazing of the sun, and the reflections of the sea merge and blend to become an unrepeatable moment of life, so do the elements in Di Viccaro's paintings. The elements of the sea and vegetation are fused inexplicably into a dense fabric of Turkish reds, violets, greens, yellows, blues, whites and pinks that swell and beat luxuriantly. Di Viccaro lives the experience of the landscape from inside, his strokes expressing sentiments that can not be contemplated, but become moments of poetry. Wedges of color create a chromatic rhythm and forms bathed in limpid southern light become almost symbolic under his masterful strokes. Di Viccaro provides an admirable example of interpretation in a series of landscape themes, which have become objects of meditation, stimulated by the artist's lyrical and emotional foundation.

Reality is translated into paintings as constructions, as volumes that occupy a space and find in the harmony between form and atmosphere their reason for being. To make concrete the essence of a landscape, to transfer it into a painting, it is necessary to possess objectivity in all its secret aspects. Only then does it become pliable and can be transformed into images-figurations of a new, completely transformed reality. From this kind of rapport with the truth, Di Viccaro creates his realism, a realism which constructs images equivalent with his way of experiencing life, and transfers them into a new dimension of the landscape.

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