Painted oil on canvas depicting church in church in Capri
Signed and localized "F Coloropinto Capri"
Federico Coloropinto Ischia (1905-1949)
Between Ischia and Naples, the inspiration of this painter is moved: certain Neapolitan squares, S. Ferdinando or Piazza del Gesù, above all, push him to vibrate with more lively interest: or certain corners of Ischia, the Roman paper beach or of the Fishermen, for example. But in the Neapolitan places he searches, among the architectures from the magnificent Bourbon red to the wonderful Gothic gray, a crowd surprised quickly, placed to live in the picture as the very element of the landscape: and in the Ischia places, however, abolishes the presence of man, leaves Which emerges from the slight morning fog the castle, like a spectrum or a riddle ship, lets the nets spread to dry, the boats, the wave moved between the rocks of the Lido. His world is so equilibra between the city and irony, between the crowd and loneliness in the middle, the still lifes, certain interiors, some landscape of the first evening, from the top of a terrace, an expanse of houses that they close to the first sleep. Thus colorful invents gray: a color of extreme difficulty, which immediately risks being dirty, of not trying anymore, of being dead. For gray you need a excavation work, peak inside the color, until it destroyed it as a ring and welcome it as a memory. Very difficult, it is understood: because it seems that painting cannot be remembered (after all it is all the misunderstanding of certain pseudopiture from the truth, the inane effort of many who want to "grasp" on the live something that does not yet have the necessary detachment in time). Each valid painting lives over time more than in space, it is obvious from Masaccio to Cézanne, painting is memory, so it can open up to the symbol, not before, and the bottles of Morandi will always win the figures of Irolli, precisely for this superior quality Intuition ... and Goya is all memory, even the impressionists only succeed at the point that they place their sudden objects in the fabulous air of memory, and the "breakfast on the grass" is the sensational example. Instead, for color, the happy moments are precisely these: they seem to be rapid notations and on the contrary they are a continuous listening to ancient images. So of Naples can "grasp" the tiredness, the languor, the thrill of cold of certain of his bent evenings: and the gray that dysferes in the purple, in the blue, in the vampe of the red occhia, in the deaf of the lands or that s' It lights up of rapid splendors, of sharp blades of light in horizon: after all I am the greatest gimmick of this painting that I would like to suggest to art connoisseurs. Hence, the backlights: painting that tends by its nature to the misunderstanding of the scenography and abundance and that to be congenial to the colorful finds results of an extraordinary pictorial truth "(Arsenio). Https://ischiasky.it/
Each object of our gallery on request is sold accompanied by a certificate of authenticity issued by Sabrina Egidi expert of the Court and of the C.C.I.A.A. From Rome.
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