Gigino Falconi - Senza titolo
\Artist: Gigino Falconi
Technique: Oil on canvas\Signature: Signed\Dimensions: 50_60_cm
Gigino Falconi. Untitled. Oil on canvas. Cm 50 x 60. 2000s. Certificate of guarantee. Professional packaging and SDA express courier. Sold with frame. ARTIST’S BIOGRAPHY: Gino Falconi was born in Giulianova in 1933. His work is divided into 9 painting cycles. From 1957 to 1963 his research was based on the surrealism of space filled with ghosts. From 1963 to 1968 Gino Falconi made a research from the Baroque to the Risorgimento. In the years between 1969 and 1974 the pictorial representation became analytical and referred to subjects of the nineteenth century and of the early twentieth century. Between 1974 and 1978 Gino Falconi fully recovered the painting through images with subjects inspired by the anguish of existence. From 1978 to 1985 he intensively worked on the mystery of “interiors”. From 1985 to 1988 he made a series of paintings inspired by the works of Gabriele D’Annunzio. From 1989 to 1994 Gino Falconi painted a series of “nudes” and “silent concerts”. From 1995 to 1999 he developed a series of sacred paintings. In the two-year period 2000-2001 he made the cycle called “Le ossessioni”, dedicated to the mystery of the women’s universe. He lives and works between Montone and Rome. Gino Falconi had the courage and the patient and proud strength to portray the so-called “own world”, resisting the dozens of stylistic-experimental temptations that attracted an empty attention around him for decades. A figurative and precise “world”, in which and through which he revealed his clear, mysterious, vibrant and enigmatic “poem”. It’s not easy to say how Gigino Falconi arrived at these contemplations, also because it’s not easy to understand where we are dealing with visual love chronicles, real or desired, or with joyful memories or dismayed regrets, or with caressed but not embraced creatures. However, beyond a possible real catalogue, for Falconi you can talk about a “glimpsed beauty” in creatures and things, because for him beauty is a form of lymph and (we would say) breath of everything that was created for love once upon a time. It’s not easy to understand what this thirst for contemplation arises from, even though we cannot exclude that he is tempted by the Concupiscence of the eyes. We can say that all this has little to do with painting and it’s possible. However, we should remember that every artist is a harp that can be played by an angel, a demon or a witch. Gigino Falconi is one of the most enigmatic and at the same time sensitive artists, so it’s easy to be “enchanted” by his paintings. However, it’s possible to understand and know how and why Gigino arrived at his pictorial language, which is clearly perfect, masterly precise; that is to say, to know those who were “the greatest” masters from the past from whom he learned a technique that has a handcrafted and poetically realistic light, and also the capacity of the architectural structure, and so on. The great ones are all there. During the 1980s Falconi made a series of rather strange works. A peculiarity common to his works was that houses, rooms, doors and windows were rickety, like a ship shaken by the storm or about to sink bending on one side. In those paintings there was an atmosphere of disturbed dream. What remained was something madly poetic, tender and poignant. Photos were another passion of Falconi, not only those of actresses but also photos of landscapes and interiors. Gigino Falconi also engaged in pictorial cycles where there are recurring figures and landscapes, beautiful girls with slightly filmy clothes. Falconi also represents more difficult and important themes, such as the paintings from “Una luce sul mondo” where Gigino depicts characters and events from the Gospels. These works show how Gigino still follows himself and his own words even with religious themes and he does it with an almost imperious, sharp but at the same time anxious and desperate decision. When we admire his works, we should not be deceived by the pictorial technique, by the beauty of the painting and the motif, but we should rather think about what Gigino wants to say, also thanks to his skill. And we should try to understand those inner and cultural reasons that have been his true strength for fifty years.
View it on
Estimate
Time, Location
Auction House
\Artist: Gigino Falconi
Technique: Oil on canvas\Signature: Signed\Dimensions: 50_60_cm
Gigino Falconi. Untitled. Oil on canvas. Cm 50 x 60. 2000s. Certificate of guarantee. Professional packaging and SDA express courier. Sold with frame. ARTIST’S BIOGRAPHY: Gino Falconi was born in Giulianova in 1933. His work is divided into 9 painting cycles. From 1957 to 1963 his research was based on the surrealism of space filled with ghosts. From 1963 to 1968 Gino Falconi made a research from the Baroque to the Risorgimento. In the years between 1969 and 1974 the pictorial representation became analytical and referred to subjects of the nineteenth century and of the early twentieth century. Between 1974 and 1978 Gino Falconi fully recovered the painting through images with subjects inspired by the anguish of existence. From 1978 to 1985 he intensively worked on the mystery of “interiors”. From 1985 to 1988 he made a series of paintings inspired by the works of Gabriele D’Annunzio. From 1989 to 1994 Gino Falconi painted a series of “nudes” and “silent concerts”. From 1995 to 1999 he developed a series of sacred paintings. In the two-year period 2000-2001 he made the cycle called “Le ossessioni”, dedicated to the mystery of the women’s universe. He lives and works between Montone and Rome. Gino Falconi had the courage and the patient and proud strength to portray the so-called “own world”, resisting the dozens of stylistic-experimental temptations that attracted an empty attention around him for decades. A figurative and precise “world”, in which and through which he revealed his clear, mysterious, vibrant and enigmatic “poem”. It’s not easy to say how Gigino Falconi arrived at these contemplations, also because it’s not easy to understand where we are dealing with visual love chronicles, real or desired, or with joyful memories or dismayed regrets, or with caressed but not embraced creatures. However, beyond a possible real catalogue, for Falconi you can talk about a “glimpsed beauty” in creatures and things, because for him beauty is a form of lymph and (we would say) breath of everything that was created for love once upon a time. It’s not easy to understand what this thirst for contemplation arises from, even though we cannot exclude that he is tempted by the Concupiscence of the eyes. We can say that all this has little to do with painting and it’s possible. However, we should remember that every artist is a harp that can be played by an angel, a demon or a witch. Gigino Falconi is one of the most enigmatic and at the same time sensitive artists, so it’s easy to be “enchanted” by his paintings. However, it’s possible to understand and know how and why Gigino arrived at his pictorial language, which is clearly perfect, masterly precise; that is to say, to know those who were “the greatest” masters from the past from whom he learned a technique that has a handcrafted and poetically realistic light, and also the capacity of the architectural structure, and so on. The great ones are all there. During the 1980s Falconi made a series of rather strange works. A peculiarity common to his works was that houses, rooms, doors and windows were rickety, like a ship shaken by the storm or about to sink bending on one side. In those paintings there was an atmosphere of disturbed dream. What remained was something madly poetic, tender and poignant. Photos were another passion of Falconi, not only those of actresses but also photos of landscapes and interiors. Gigino Falconi also engaged in pictorial cycles where there are recurring figures and landscapes, beautiful girls with slightly filmy clothes. Falconi also represents more difficult and important themes, such as the paintings from “Una luce sul mondo” where Gigino depicts characters and events from the Gospels. These works show how Gigino still follows himself and his own words even with religious themes and he does it with an almost imperious, sharp but at the same time anxious and desperate decision. When we admire his works, we should not be deceived by the pictorial technique, by the beauty of the painting and the motif, but we should rather think about what Gigino wants to say, also thanks to his skill. And we should try to understand those inner and cultural reasons that have been his true strength for fifty years.
Estimate
Time, Location
Auction House
