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Inner exploration

Inner exploration

Inner exploration

An exploratory journey into my interiority by expressing my joys

Specifications
Light source - Ex.: Monochromatic, Two-color Polychromatic
Subject represented - Ex.: Horses, Fruit, Cats Hidden figurative
Technique used - Ex.: Oil on canvas, Pencil on paper Mixed with pure pigments (oil and acrylic) on canvas
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Magmatism

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€3,500.00
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Enzo
Enzo Napolitano
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Caposcuola del “MAGMATISMO” internazionale ha rappresentato l’Italia al congresso delle Nazioni Unite per la protezione del Mediterraneo organizzato dall’Ammiraglio Roberto Patruno, Direttore Generale della REMPEC
(25Aprile 2005)

Biennale Internazionale di Malta
(26 Maggio - 1Ottobre 2005)

Padiglione Italiano rappresentato dal gruppo del Magmatismo


Vincenzo Napolitano nasce a Vittoria in provincia di Ragusa il 30 Agosto 1955.

Frequenta l’Istituto d’Arte di Comiso, conseguendo nel 1971 il diploma di Maestro d’Arte, nel 1998 il diploma di Liceo Artistico e nel 1999 la Laurea in “Sezione Decorazione” presso l’Accademia delle Belle Arti di Agrigento.

Nel 2000 crea una poetica pittorica” Magmatismo” di cui è il caposcuola

Dal  2000 al 2002 insegna Pittura e Tecniche pittoriche presso l’Accademia delle Belle Arti di Ragusa “Mediterranea”

Nel 2005 la casa Editrice Giorgio Mondadori dedica la prima monografia con la curatela di Vittorio Sgarbi, Paolo Levi e Giorgio Guastella.  La monografia fa parte della Collana Mondadori e racchiude tutte le opere dal 2001 al 2004.

Nel 2006 è tra i 99 Artisti scelti da Vittorio Sgarbi per il volume “I Giudizi di Sgarbi “ edito dalla Giorgio Mondadori.

Nel 2007 viene pubblicata la seconda monografia edita dalla “San Giorgio Arte Investimenti”

Nel 2010 forma il Gruppo MAP 13 assieme agli artisti Stefano Fanara ed Eliana Re

Nel 2011 viene pubblicata la terza monografia edita dal “ Centro Diffusione Arte”

Ha esposto in numerosi paesi e le sue opere fanno parte di importanti collezioni pubbliche e private

Sue opere si trovano in Italia,Venezuela, U.S.A., Canada,Romania, Germania e Malta.

Nel 1994 è il vincitore  del Festival di Sanremo “Medaglia d’Argento Presidente della Repubblica”

Nel 1995 rappresenta l’Italia all’Eurofestival di Pittura a Parigi

Nel 1995 rappresenta l’italia al Mondialfestival di Pittura a Tokio

Nel 2005 ha rappresentato l’Italia alla Conferenza delle Nazioni Unite per la protezione del Mediterraneo organizzato dall’Ammiraglio Roberto Patruno, Direttore Generale di REMPEC

Di lui hanno scritto: V. Sgarbi, P. Levi, R.Guttuso, G.Bufalino,  B.Brancato,  C. Randazzo, G. Capuzzo, Bellati, D’Attanasio etc.

..........

Leader of international "MAGMATISM", she represented Italy at the United Nations congress for the protection of the Mediterranean organized by Admiral Roberto Patruno, Director General of REMPEC
(April 25, 2005)


Malta International Biennial
(26 May - 1 October 2005)

Italian Pavilion represented by the Magmatism group


Vincenzo Napolitano was born in Vittoria in the province of Ragusa on August 30, 1955.

He attended the Art Institute of Comiso, obtaining in 1971 the diploma of Master of Art, in 1998 the diploma of Art School and in 1999 the Degree in "Decoration Section" at the Academy of Fine Arts in Agrigento.

In 2000 he created a pictorial poetics "Magmatism" of which he is the leader

From 2000 to 2002 he taught Painting and Pictorial Techniques at the "Mediterranea" Academy of Fine Arts in Ragusa

In 2005 the Giorgio Mondadori publishing house dedicated the first monograph with the curatorship of Vittorio Sgarbi, Paolo Levi and Giorgio Guastella. The monograph is part of the Mondadori series and contains all the works from 2001 to 2004.

In 2006 he was among the 99 Artists chosen by Vittorio Sgarbi for the volume "I Giudizi di Sgarbi" published by Giorgio Mondadori.

In 2007 the second monograph was published by "San Giorgio Arte Investimenti"

In 2010 he formed the MAP 13 Group together with the artists Stefano Fanara and Eliana Re

In 2011 the third monograph was published by the "Centro Diffusione Arte"

He has exhibited in numerous countries and his works are part of important public and private collections

Works by him can be found in Italy, Venezuela, the U.S.A., Canada, Romania, Germany and Malta.

In 1994 he was the winner of the Sanremo Festival "Silver Medal President of the Republic"

In 1995 he represented Italy at the Eurovision Painting Festival in Paris

In 1995 he represented Italy at the World Painting Festival in Tokyo

In 2005 he represented Italy at the United Nations Conference for the Protection of the Mediterranean organized by Admiral Roberto Patruno, Director General of REMPEC

The following wrote about him: V. Sgarbi, P. Levi, R. Guttuso, G. Bufalino,  B. Brancato,  C. Randazzo, G. Capuzzo, Bellati, D'Attanasio etc.

• 1977 - Primavera Prize “Giuseppe Sorano 3rd National Edition of Painting

• 1978 - National Painting Competition "La Pesca d' Oro" Borgo d' Ale - Vercelli

• 1978 - National Painting Competition "Towards the Future" 4th Edition - Avellino

• 1979 - International Competition of Art and Literature "City of Avellino"

• 1979 - 16th National Exhibition of Contemporary Painting " Santhia " Vercelli

• 1979 - 5th International Exhibition of Contemporary Art "Festival dei due Mondi" City of Spoleto

• 1980 - 16th National Painting Competition "Gaudenzio Ferrari" Vercelli

• 1980 - 16th National Painting Competition "President of the Republic" Vercelli

• 1980 - 2nd Edition "June Modicano" Extemporaneous Exhibition of Painting

• 1980 - Collective Buffalo “U.S.A.”

• 1980 - Collective Ronchester “U.S.A.”

• 1982 - 1st Review of Contemporary Painting "Cultural Association Dialogue" Modica

• 1982 - 2nd Edition of the "Golden Amphora" Endas Ragusa Painting Award

• 1983 - 3rd Edition of the "Golden Anfora" Prize for Painting organized by Endas Ragusa

• 1983 - 2nd Review of Contemporary Painting "Cultural Association Dialogue" Modica

• 1984 - 2nd Regional Edition "Val di Noto" County Academy of Modica

• 1984 - 2nd International Edition "County of Modica"

• 1985 - 1st International Edition "Festa della Pace" organized by the Arte Club Comiso

• 1985 - 1st International Painting Competition "La Pace" organized by the International Academy of the County of Modica

• 1985 - 3rd Regional Edition "Val di Noto" County Academy of Modica

• 1985 - 3rd International Competition "County of Modica"

• 1986 - 1st International Competition "Knight of Peace" International Academy County of Modica

• 1986 - Collective of 10 in S. Croce Camerina "Art Club"

• 1986 - 4th edition of the prize for painting "Amphora d'Oro" organized by Endas Ragusa Modica

• 1987 - 2nd Regional Edition "Gaspare Cannata" County of Modica

• 1987 - Collective of 10 in Comiso "Art Club"

• 1988 - Group show Circo Nautico Porto Salvo Marina di Modica

• 1988 - Collective painting in S. Croce Camerina "Exhibition Hall"

• 1989 - Group exhibition of the “Comiso” Cultural Services Centers

• 1990 - 1st Tuscany Regional Biennial "International Academy - the Marzocco"

• 1990 - 1st National Grand Prix of Painting and Sculpture "Florentine Masters"

• 1990 - 2nd International Painting Competition "La Palette" Rome

• 1990 - Permanent collective exhibition in Comiso "Art Club Gallery"

• 1990 - 1st National Grand Prix "Regions of Italy"

• 1990 - Collective of the 10 in Vittoria "Teatro Comunale"

• 1990 - Collective exhibition in Modica "Exhibition Hall" City Hall of Modica

• 1990 - Group exhibition Ragusa "Chamber of Commerce Exhibition Hall" Ragusa

• 1992 - Collective in Palermo - Catania - Messina - Enna

• 1992 - Collective A.C.L.I. Vittoria "Multipurpose Museum" 1st Edition

• 1993 - Group exhibition Chantal Gallery Milan

• 1993 - 9th International Art Grand Prix Competition 2nd Paola Petrini Trophy Cesenatico (Forlì) organized by "il Quadrato"

• 1993 - 1st United Europe Prize "Gavino Usai" Sassari

• 1993 - Collective A.C.L.I. Vittoria "Multipurpose Museum" 2nd Edition

• 1993 - Collective A.C.L.I. Vittoria "Multipurpose Museum" 2nd Edition

• 1993 - Grand Etruscan Trophy "Woman with Mirror" Accademia del Fiorino

• 1993 - Collective San Domenico Savio -Vittoria

• 1993 - 5th Biennial City of Milan

• 1993 - 3rd “Arte+Arte” Trophy, Milan

• 1993 - Collective exhibition the "Scalinata" Trapani

• 1993 - Extemporaneous city of Trapani "Galleria Potti Arte"

• 1994 - Collective Inspection of Finance "Heart of Ortigia" Syracuse

• 1994 - Group exhibition Raffaello Shopping Center "Contemporary Artists" A.C.C.A. Rome

• 1994 - Group exhibition "La Palette" Vittoria Cultural Services Center

• 1994 - 1st Biennial of Sicilian Art

• 1994 - Group show "Galleria Potti Arti" Marsala

• 1994 - "ArezzoArte 94" International Exhibition of Contemporary Art

• 1994 - Extemporaneous Triscina 94 Trapani

• 1994 - Roma Arte Forum Interart Award

• 1994 - 2nd Sanremo International Festival of Contemporary Painting Silver Medal President of the Republic

• 1995 - Collective “Puglias International” AKKA (Israel)

• 1995 - Collective "Puglias International" HERA (Israel)

• 1995 - Collective “Puglias International” IACOV (Israel)

• 1995 - Group exhibition "Puglias International" NATANIA (Israel)

• 1996 - Group exhibition "Alexis de Tocqueville Study Centers (Palermo) Palazzo Comitini"

• 1997 - Group exhibition "Maggio Monralese" (Monreale)

• 1998 - Sicilian Biennial "Vittoria Arte"

• 2000 - Sicilian Biennial "Vittoria Arte"

• 2001 - Collective exhibition in Licata "Zodiac Gallery"

• 2001 - Collective in Vittoria "Homage to Cerasuolo"

• 2001 - Collective exhibition in Campobello di Licata "Zodiaco" Gallery

• 2002 - Collective exhibition in Palma di Montechiaro " Palazzo del Gattopardo " Zodiac " Gallery

• 2002 - Collective in Ragusa "Festa del Tricolore"

• 2003 - Collective Contemporary Masters "Scribart Gallery" Vittoria

• 2003 - Collective charity “La Margherita ” Victory

• 2003 - Art and Solidarity (Conference Hall – Emaia Fair) Neuromotulesi Vittoria Center

• 2003 - Collective Contemporary Art "Castello Biscari" Acate

• 2003 - Collective of Solidarity (Ass. for Human rights and emergencies) "Foyer Teatro Comunale di Vittoria"

• 2004 - Collective exhibition "Comparing techniques" Artincontro Gallery - Turin

• 2005 - Malta International Biennial (Italian Pavilion represented by the "Magmatism" of which he is the leader

- Malta (26 May 01 October

- France (July 15-22) Center Culturel Christiane Peugeot-PARIS

- Germany (20-25 August) Villa Schabbach –Morbach-Hundheeim

- Italy ( 08-15 September) Palazzo Ducale Palma di Montechiaro and Museum of graphics Naro (Agrigento)

- Libya (September 20-26) Academy for Graduate Studies-University of Libya-Tripoli

- Russia (November 2005)

- United Kingdom (December 2005)

- Canada (January 2006)

           - United States of America (February 2006)

• 2005 - Collective art gallery "Artincontro" Turin

• 2006 - Collective Art Gallery "Il Sagittario" Messina Itinerant Exhibitions "XXII Century Desertification" Artistic Group "Agave blu"

• 2006 - Gallery "the Argonauts" Catania

• 2006 - Palazzo dei Leoni Messina

• 2006 - Palace of the Dukes of Santo Stefano Taormina

• 2006 - Palaculture Barcelona P.G.

• 2006 - Collective art gallery "Giò Art" Lucca

• 2006 - Art Fair Market Pordenone "Gio Art"

• 2006 - Art Fair Market Pesaro "Gio Art"

• 2006 - Art Fair Reggio Emilia Market "Gio Art

• 2006 - Art Fair Montichiari Market "GioArt"

• 2007 - Vittoria Classical High School Auditorium

• 2008 - Body Painting Scoglitti ( beach soccer )

• 2008 - Forli art fair (San Giorgio Arte inv.)

• 2008 - Bologna art fair (San Giorgio art inv.)

• 2008 - Padua art fair (San Giorgio art inv.)

• 2008 - Vicenza art fair (San Giorgio art inv.)

• 2008 - Art fair EMAIA Vittoria (Viva Art)

• 2009 - Collective Sacred Art Grammichele

• 2009 - Collective exhibition "Open author horses" Assisi endurance ( ARTISSE ) (Madonna del Piano Sanctuary exhibition hall)

• 2009 - Agrigento art fair (San Giorgio art inv.)

• 2009 - Forli art fair (San Giorgio Arte inv.)

• 2009 - Bologna art fair (San Giorgio art inv.)

• 2009 - Padua art fair (San Giorgio art inv.)

• 2009 - Vicenza art fair (San Giorgio art inv.)

• 2010 - Group exhibition "G.Sciortino" Morreale (Palermo Art Diffusion Center)

• 2011 - Collective A.M.A.C.I. Melbookstore Bologna exhibition hall

• 2011 - Collective A.M.A.C.I. EDONE' Vittoria Art Gallery

• 2011 - Collective A.M.A.C.I. Stefano Fanara Atelier Bologna

• 2011 - Collective A.M.A.C.I. Atelier Eliana Re Palestrina (Rome)

• 2012 - Art market fair Padua Gallery Edonè

• 2012 - Art fair Piacenza Stand Galleria Edonè

• 2013 - Art Fair Market Foggia Gallery Edonè

• 2013 - Collective AMACI Atelier Eliana Re Palestrina (Rome)

• 2013 - Art Fair Market Piacenza Gallery Edonè

• 2013 - Group exhibition of the 5 Acate "Castello dei Principi Biscari" - Galleria Edonè

• 2013 - Group exhibition Galleria Edonè Vittoria

• 2013 - Collective Vittoria Jazz Galleria Edonè

• 2013 - Extemporaneous exhibition with Francesco Cafiso

Winner of the Silver Medal "President of the Republic" 1st place at the International Festival - San Remo 1994

Nomination winner – Sassari

  • 2018 Collective in Comiso tribute to "F.Giombarresi" Aragonese Castle
  • 2018 Collective in Ragusa "Ibla Generation" Cultural Aggregation Center
  • 2018 Collective in Vittoria "Don't raise your hands" Sala delle Capriate
  • 2018 Collective Municipal Exhibition Hall Vittoria
  • 2019 Collective Ragusa Aggregation Center "Events Iblei"
  • 2019 Collective Arteinsieme Comiso Castle of the Princes of Biscari " Fermentum "
  • 2019 Collective Art in the World exhibition hall Art Gallery Rome
  • 2019 Collective Palazzo Grimaldi Modica "The wonder of the clouds" Arteinsieme Comiso
  • 2020 Collective Ars Iblea Galleria Arcadia Naviglio Grande Milan
  • 2020 Collective Gallery Area Contesa Rome via Margutta
  • 2020 Collective art exhibition hall Palazzo La Rocca Ragusa Ibla
  • 2020 Collective Art Exhibition Hall Palazzo Fidone Comiso
  • 2020 Collective Art Castle of the Princes of Biscari Acate
  • 2021 Art Collective Palazzo Fidone Arteinsieme Comiso
  • 2021 Art Collective Art Gallery Xante Battaglia Gioia Tauro
  • 2020 Collective art exhibition in Ragusa Ibla Palazzo La Rocca exhibition hall
  • 2020 Collective art (ARTEINSIEME COMISO) Palazzo Fidone
  • 2020 Extemporaneous painting in Marina di Acate ( Summer 20 )
  • 2021 Punta Braccetto summer collective
  • 2021 Collective "Summer '21" CibArtè Marina di Ragusa
  • 2021 Collective "Emotions of Autumn" Art Gallery Civita 28 Catania
  • 2021 Group exhibition "Dante and the eighteenth century" Taormina - Modern Art Museum - Castello Duchi S. Stefano
  • 2021 Collective tribute to Dante S. Croce Camerina
  • 2021 Collective "Meet the Art" Torre Don Virgilio Frigintina Modica
  • 2022 Group exhibition "Christmas in Monterosso" Exhibition hall Palazzo Cocuzza Monterosso Almo
  • 2022 Collective "remembering Dante the eighteenth century" I.C. Gaetano Ponte Palagonia
  • 2022 Collective "The Woman in Art" Comiso Palazzo Fidone
  • 2022 Collective "Spring Collective Arcadia" Palazzo Fidone
  • 2022 Collective city of Berlin - Von Zeidler Art Gallery
  • 2022 Painting exhibition "Geometric Harmonies" Palazzo Fidone Comiso
  • 2022 Collective art gallery Albani Urbino "from Comiso to Urbino"
  • 2022 Collective painting "Colors for Peace" Palazzo Fidone Comiso
  • 2022 Collective Castle Enriquez Vittoria
  • 2022 Collective art exhibition Marzamemi
  • 2022 Collective exhibition hall "Il Faro" Scoglitti
  • 2023 Art Collective "100 years of Verga" Municipal Library exhibition hall" S.Croce Camerina
  • 2022 Collective art exhibition "Riflessi d'Arte" Sala Capriate Vittoria
  • 2022 Collective Art "Ecstasy" Castle of the Princes of Biscari Acate
  • 2023 Collective painting "100 di Verga" I.C. Palagonia Bridge
  • 2023 Collective painting "100 years of Verga" Mineo
  • 2023 Vizzini “100 di Verga” collective painting exhibition
  • 2023 Group painting Castle of the Princes of Biscari Acate
  • 2023 Collective of painting "l'Infinito" Palazzo Fidone Comiso
  • 2023 International Forum Magna Graecia over time Art Tour Italy

1978 - Solo exhibition at the "Leonardo da Vinci" Vittoria Cultural Club

1978 - Personal Gallery "Ponte 2" Ragusa

1979 - Solo exhibition at the "Yorkville Art Center” Broadway Lanes 2411 Yonge Street Toronto – Ontario – Canada

1979 - Personal Gallery "Ponte 2" Ragusa

1979 - Solo exhibition at “Number One Gallery” 5 Linden Avenue Scarborough Toronto Canada

1981 - Personal exhibition in Ispica "Pinacoteca Palazzo Comunale"

1981 - Personal exhibition in Vittoria "Exhibition Hall" Teatro Comunale

1984 - Personal exhibition in Ragusa "Exhibition Hall" Chamber of Commerce

1984 - Solo exhibition of the Vittoria Gallery "Il Cavalletto".

1985 - Personal Gallery "Art Club" Comiso

1986 - Personal exhibition in Modica "Exhibition Hall" Palazzetto dei Mercedari

1991 - Personal exhibition in Vittoria "Exhibition Hall" Teatro Comunale

1992 - Personal exhibition in Pozzallo "Cultural Services Center"

1993 - Personal exhibition at Pia Sonner Plate 6 – Tauberbischofsheim – Germany

1993 - Personal exhibition at Chiaramente Gulfi "Exhibition Hall"

1993 - Personal exhibition in Licodia Eubea "Cultural Services Center"

1993 - Personal exhibition in Comiso "Municipal Art Gallery"

1993 - Personal exhibition in S. Croce Camerina "Municipal Library"

1993 - Personal exhibition in Milan Cultural Center "Art" Center Manzoni

1993 - Personal exhibition "Municipal Gallery" Clearly Gulfi

1994 - Personal Spoleto "Galleria Forum Interart" Festival dei due Mondi

1994 - Personal exhibition "Artistic Gallery" Ragusa

1995 - Personal exhibition "Create Art Gallery" Vittoria

1995 - Personal exhibition "Villa Davide" Vittoria

1996 - Personal "Gallery Forum Interart" Rome

1997 - Personal exhibition "Gallery Studio d 'Arte 2" Venice

1997 - Personal exhibition "La Carrozza" Comiso

1997 - Personal exhibition "Art Studio Gallery 2" Tezza sul Brenta

1998 - Personal exhibition "Ducal Castle of Crecchio" (Chieti) Artis Review

1998 - Personal exhibition "Castello del Capitano Soave" (Verona) Artis Review

1999 - Personal exhibition in Vittoria "Youth Center"

2000 - Personal exhibition in Vittoria "Youth Center"

2003 - Solo exhibition of painting "Foyer Teatro Comunale" Vittoria

2003 - Solo exhibition of Painting by the Municipal Delegation "Estate Kamarinée" Scoglitti

2003 - Exhibition of painting "Cultural Services Center" Ragusa

2004 -Personal exhibition of paintings at the "Il Centauro" art gallery in Bari

2005 -Personal Painting Corinthia Palace Hotel -Attard -Malta-

2005 -Personal exhibition painting Villa Tempra Mgarr Malta

2006 - Solo exhibition of paintings Foyer municipal theater of Vittoria

2006 - Painting exhibition at the "Sagittarius" Messina Art Gallery

2006 - Art Fair Market "Palanaxos" Giardini Naxos (ME) Sagittarius Art Gallery

2006 - Personal painting Palazzo Ducale Gela (CL)

2006 - Personal exhibition of paintings in the Palace of the Province of Ragusa

2006 - Solo painting Exhibition Hall Restaurant "Aurora" Gela

2006 - Solo painting in the exhibition hall "PalazzoRizza" Vittoria

2007 - Personal painting exhibition "Logos Studio Art Gallery" Rome

2007 - Exhibition of painting "Foyer Naselli" Comiso

2008 - Solo painting "Logos Art Gallery" Rome

2009 - Personal painting exhibition "Castello di Biscari" Acate

2010 - Personal exhibition of painting "Ass.Culturale Loyal exhibition hall" Comiso

2010 - Personal exhibition of painting "Bixio 64 bookshop exhibition hall" Vittoria

2010 - Personal exhibition of painting "Le Ciminiere" Catania

2011 - Solo painting EMAIA Vittoria

2018 Personal painting exhibition hall Niscemi art gallery

2018 personal exhibition "Gallery of Art Area Contesa" via Margutta Rome

2018 Personal exhibition of painting and sculpture Vittoria Museum exhibition hall

2019 Painting staff Exhibition hall Diana Comiso restaurant

2019 Personal painting Exhibition hall "Shikkeria" Comiso

2020 personal painting and sculpture "Sala delle Capriate" Vittoria

2021 Painting staff Art Gallery " C.B. Cavour” Messina

On the concept of Magmatism

Rosa Di Pieria

Investigation into the Movement, Rosa Di Pieria, Vincenzo Napolitano

Incandescent lava flows from the center of the Earth to the mouths of volcanoes, whose energy has traced a channel to avoid imploding and disintegrating the vital matter, which is itself energy, but peripheral to the central energy of the heart of our cosmic object. On these lands we see the steep, continuous and immense mutations generated both by the magma and by the nucleic motor under the earth's mantle, often focusing on stages, like fluids, although unaware of the generating direction.

Vincenzo Napolitano, founder of Magmatism, undoubtedly has a heart synchronized with the fiery vibrational solar engine located at the center of the Earth. This is even more confirmed by the artisanal creation of his pigments, taken directly from earthly powders, mixing the oils and acrylics on the work surface, as far as he intends to go in the structure pre-established by his ratio.

In the symbiotic relationship with energy, the artist is also aware of the primary thermal process - noted high in the centigrade range - which digs the channel within the aqueous and non-aqueous human organism, and then comes out in the execution of this very method, through painting, enhancing the only possible dimension to operate, i.e. the fluid one.

Therefore, maintaining that the internal movements of his paintings appear to be an expression of fluidity is legitimate, but that the architect is the heat of the (cooled) magma, gives him not only an even deeper truth, but also the intrinsic metaphysical value of Opera.

Well, Enzo Napolitano doesn't stop at the surface and the search for him is perennial; it is certainly no coincidence that he titles his works "Cellular reaction", "Fears", "Waiting", "Interior acuteness", "Provocation", "Have you ever seen God as he is?", "The essence of pleasure", "Spiritual elevation", "The queen of the sea", "The colors of the soul", "The second reality", "Spirit and Matter", "Inner exploration" and the entire summa of his production, characterized in the extreme substantia by the primordial and supreme value of heat, which only by externalizing it in the form of magma can it consolidate to take shape. Magma is the container of an energetic whole, such as the abstract expressions of affection, pleasure, fears, but also of the more material eating, of the journeys of large and small bodies and in general of parallels, of opposites and of an arcane encounter -clash and vice versa.

He usually starts from figures which, almost as if they do not convince him of reality, he tries to explain through their deconstruction, arriving more truthfully at the conquest of truth (an innate human evolutionary task). To reach such approximations he must scientifically and imaginatively liquefy everything, be it soul or matter, be it elements of fire or frost.

Pictorial magmatism was born with the first work of art millennia of years ago, and Vincenzo Napolitano explains it in this time, the right one, the appropriate one, immersing himself in the waves, mostly sinuous, so that the cathartic angle is triune and perfect between the artist, the spectator and Nature.

Rosa Di Pieria

In search of the truth

critics, Rosa Di Pieria, Vincenzo Napolitano

Vincenzo Napolitano, artist and founder of international 'Magmatism', of Sicilian origins, boasts a conspicuous curriculum of abstract brushstrokes.

From the formative process now at its peak, he dedicated himself from the first moment to this peculiar, intimate emotional research of his, so-called "magmatism", whose lemma takes its initial shape from the internal magma that flows in each one; but we certainly need to go deeper. Figurative in an emblematic way, Napolitano alludes to magma - which is certainly a legacy derived from his origins - in order to illuminate the energy of the brushstrokes, since, like incandescent lava, it encloses and carries with it the experience along its path, in the same way he moves his brush on the mirror framed with oils and acrylics. A considerable, almost immeasurable, complex of colors drags from painting to painting to create exhibitions of sublime layers of magma magma made possible by his very personal miscellany: we find the color made incandescent like the tools used to achieve the coveted pantone. Since he is the master of exclusive techniques of his kind, not getting lost in the metaphor of belching, which takes advantage of the weak points in correspondence with the fractures - thus rising to the surface - is almost impossible.

The intrinsic thermodynamic factor screams at the viewer the rigorous energetic, laborious and luminescent quantum of the modus operandi revealed in the paintings, contained therein in action no less suitable to corroborate the soul aimed at absorbing its emanations: Napolitano grasps the importance of change through thermal, he shapes the results as he pleases and lets the burning epicentral heat of the paintings stand out.

He expresses pure heat first of all, then melts on the surface or secondarily in the fluidity, which he uses as a means to stigmatize the lava motion. It is an eye aimed at the investigation of potentially infinite processes born, perhaps, from the Self - after all, aren't we all made up of fluids, of intense magma that boils ardently? - or imported from the equally arcane external universe into cellular native time - don't we passively feel like paintings and painted creatures? -. The truth most likely lies in the interchange between the two universes, the internal one and the external one, both all-encompassing. It is not so much indicative - as all Napolitano's works would be - but exemplifying thanks to the title, the work "Cellular Reaction", where magma is highlighted as the engine that allows the work to exist, but also makes us feel naked in front of to these abstract primordial brushstrokes.

Rosa Di Pieria


VITTORIO SGARBI

critics, Vittorio Sgarbi, Vincenzo Napolitano

 Vincenzo Napolitano's Informal Painting presents the strong and even ferocious gestures of a lava flow. He is therefore a painter of incandescences, which light up and regenerate themselves, giving an aesthetic form to the energy of the chromatic material. This artist's research has depth and tangibility, moving in a poetic context that has nothing experimental about it, since he certainly does not stop at the temporary nature of a simple visual effect, but rather expresses himself in a vision full of allusive values. In a labyrinthine complexity where nothing seems obvious, a sort of warm expansion of painting takes place, which offers revelations beyond the limits of the knowable. Napolitano's production therefore eliminates any figural meaning, without however resorting to expressionistic forcings, and rather playing on the level of the magmatic depth of the colour, which appears bubbling as if it came from inexhaustible depths. We are therefore dealing here with a laborious investigation into the intrinsic language of chromatic variations, which is explored in a sort of mental journey, where the artist does not abandon himself to instinct, since he rather prefers to implement extremely controlled spatial formulations. Technique and method are rigorously combined to give complete meaning to the tonal variables and prevalence, to the juxtaposition of the masses, to the balance of the relationship between the visual volumes. This painting reveals its originality in the luminous consistency of the contrapuntal pieces, in the chiaroscuro that take place in the game between reds, blues and blacks, conjugated in sequences from which figural presences transpire in an embryonic state. These aggregations, which seem to announce a rebirth or a primordial metamorphosis, are very close to the violence of certain combustions by Burri, and not so much as regards the pictorial substance, but for some evident structural harmonies. From this point of view it is important to evaluate these paintings by Napolitano for the technical methods that he applies, in order to establish a tangible collocation for the sets of forms, obviously unrecognizable but fitting and congruous in their narrative meaning, moreover made explicit by the artist in the titles that he opposes. The dialectical correlations and tensions that ignite in the material mixture exert a visible action, a sort of trace that marks the continuity between the closures and openings of the moving chromatic masses, and is defined as a map that specifies a direction or, at least, a sort of landing point that each individual work is defined and focused from time to time. What are the intimate impulses that push the artist to stage these impossible landscapes of his is not given to the observer to know, but the evocative power of this universe dense and populated by vital substances must be recognized. Vincenzo Napolitano here reveals his adherence to an expansive gesture, which nevertheless never strays from certain unwritten rules, i.e. those that require him to correctly lay out his intuitions within the limits imposed by the canvas and within a closed and well-defined a priori proposition. His is therefore not a poetics of escape, but rather a reflection on the immanent aspects of expressiveness, and on the concreteness of the transcription of what comes from the unconscious. In this quality painter, each composition therefore redefines its specificity as an unrepeatable unicum, and as the only possible response to a creative and inescapable impulse.

Vittorio Sgarbi  


GIORGIO GUASTELLA

critics, Vincenzo Napolitano, Giorgio Guastella

Matter has always been the object of particular attention for artistic research, and not only in sculpture (where otherwise it would be unimaginable), but also in painting, never subject to the structural limits (and, consequently, also expressive and linguistic) of two-dimensionality understood as "flatness" and physical inconsistency: already Braque and Picasso, at the beginning of the twentieth century, introduced the then revolutionary technique of collage by applying wallpaper and tram tickets on the pictorial support (respectively), paving the way for new expressive possibilities that flowed into Schwitters' Merz and, subsequently, into Rauschenberg's combine paintings. with the encroachment of painting into the ''sculptural'' dimension, a third dimension which is inappropriate and "unnatural" to it; and countless were the painters who, though not intervening with exogenous applications, gave painting thickness and tangible consistency by applying dense masses of colour, raising the material to thicknesses close to the parameters of bas-relief, in an ideal liberating dialogue between painting and sculpture, two- and three-dimensionality; 'unpredictable yet inevitable drastic, revolutionary turning point in pictorial research centered on matter, which one begins to study no longer as a means of representation, but as an object of experimental treatment, used linguistically for its visual and tactile associative values: Fautrier thickens it bodily, Burri "violents" it with combustions and lacerations, Fontana goes beyond the limit of the painting by "going beyond it" with holes and cuts, seeking its third dimension, the beyond". The recent production of Enzo Napolitano fits perfectly into this experimental discourse, who drastically "revolutionized" his own conception of painting after three painful years of construction inactivity (not a single work in this period left his studio!) but certainly not reflective: three years of deep meditations on the meaning of "making" art, on the relationship with empirical reality and its artistic reproduction, on the aims of aesthetics, and above all on the reasons for the artist's inner "need" to express himself and communicate his own idea of the world surrounds it as an interior, unedited, spiritual one. Those who - like the writer - already knew the previous production. will feel at first glance a sense of disorientation, but it immediately returns as soon as the value of the qualitative leap in the research carried out by the artist is understood: the previous production was already worthy of particular attention, already full of original inventive solutions. fully harmonious in terms of composition and aesthetics; yet, as is the duty of every "true" artist, Napolitano was not satisfied with the results achieved, and put himself on the line by resetting what had hitherto been achieved in the artistic field by starting a very intense, laborious introspective research, "probing" his own psyche. immersing himself in an intellectual journey that could have proved harmful to his creative entity leading him to abandon the activity, resolving instead in the conquest of a new pictorial world, in the formulation of a language that goes beyond the results of historicized material painting thanks to the implementation of bold and unusual technical methodologies, even using the torch to alter the pictorial material giving it chromatic, luminous and original and absolutely new characteristics of consistency. The artist spreads only the three primary colors on the canvas, mixes them, blends them, manipulates them with knowingly and wisely giving rise to the constitution of an immeasurable myriad of chromatic varieties: all the colors of the iris perceptible to the human eye are manifested, not one excluded; now in large and monochrome backgrounds, now in polychromatic pointillist hysteria.It is an art that originates above all from the unconscious, and which has a fundamental creative component in psychic automatism: the artist begins the work with an objective reference, observed from ponderable reality: his subsequent intervention, —alterative- and "decompositional" determines the cancellation of the initial figuration, up to the constitution of an informal surface in which, however. anthropo- and zoomorphic figures unveiled through Dalì's paranoiac-critical method or Leonardo's macular study repent: each work mysteriously reveals in insight disturbing presences that are sometimes surprisingly expressive, like manifestations of departed entities who wanted to use Enzo Napolitano as an artist-medium to declare their otherworldly existence to the observer. This interpretation in a mediumistic key, certainly improbable, but equally certainly a priori inexcludable like any extrasensory phenomenon. fits well with Napolitano's spiritual vision. a man with a fervent religious sense. and therefore a believer in post-mortem existence. How else to explain the presence of faces generated by the casual gesture. deliberately aleatory by the artist, yet incredibly resembling living (or lived...) people. as if they had been carefully and shrewdly portrayed in presence'' The biblical references are frequent, and this contributes to increasing the mystical sense of this painting which conceals originality and curiosity on multiple levels: a fundamental component, also closely connected to psychic automatism, is the gestures of the pictorial act, compared by other critics to artion painting: in fact, Napolitano's executive action does not have the same vagueness of the abstract expressionists. on the contrary, it is guided by the conscious will of the artist who acts by allowing the liberation of the vision of reality and of the world elaborated by his subconscious: it is, in fact. of painting so informal, but deriving -as predicted-, from figuration (and all the previous work of the artist determines an indissoluble relationship with the objective datum and the objectual reality). It is an art that has a liberating and cathartic function for its author: an art suffered because it is the externalization of intimate and inescapable feelings, of the "anger" against the evil of the world. human suffering and disease, which Napolitano knows very deeply (and experiences every day) for his professional activity.... An "anger" that is expressed in the treatment of decomposed material - therefore "killed" - but not with nihilistic purposes, but constructive and creative: to the destructive action the recomposition/regeneration of matter invariably follows, a "rebirth" of Being - purified from the negative, shining with new chromatisms and symbolic luminescences of the Good. Aware of the representative value of colors (he was a professor of "Visual Perception" at the Academy), Napolitano always uses them in absolute awareness of the symbolic function they play (blue for purity. red for life...), never "never" choosing them by chance (with a very different intentionality than in Picasso. who famously declared that he used blue because... he had run out of red!) But the pre-eminent aspect of this art lies in a hitherto unexplored dimension: Napolitano has profound knowledge of the only symbolic, but also 'spatial' and visually deceptive of colours. using them with admirable skill to render a false, deceptive sensation of depth and curvaceousness that in reality (it is sufficient to "touch" to make sure of it...) his painting does not have! An optical illusion similar in effect - but very different technically - to that obtained and pursued by Op Art: a sort of unprecedented "telemetric'' and "holographic'- trompe-l'cril, able to deceive the observer by suggesting to him dimensions, depths and spaces that are actually null A pictorial material that one would say "magmatic" and full-bodied as and more than in Morlotti or Burri. in truth so thin as to make the canvas visible in some portions of the surface! A "deception" also suggested by the apparent vitreous consistency of the pictorial material. Effectively. the definition of "magmatic" painting could still be considered appropriate. Originating from the "incandescent fusion" of the encounter between the flame and the "volcanic" artist.... Enzo Napolitano has therefore conquered an original and innovative expressiveness, eliminating and surpassing the already considerable research previously implemented: certainly not an easy conquest. achieved but after years of intense, suffering. introspective conceptual and aesthetic research. but that it was certainly worth addressing given the quality of the result. An arrival point beyond which it is very difficult to proceed. Again quoting Picasso. who used to say: —I'm not looking for it: I find it!". By Napolitano ("tinti-Picasso," programmatic of our days) antithetically one could well say that "he finds because he (re) searches".

Giorgio Guastella


ALFREDO CAMPO - painting by Vincenzo Napolitano

critics, Vincenzo Napolitano, Alfredo Campo

Enzo Napolitano, after a long and tiring pictorial research, reaches the informal, thus entering a particularly suggestive universe and nature in order to scrutinize its secrets and its impenetrability.

Through a style based on the search for color in all its variations and tonal gradations, the artist manages to grasp the essence of reality, its invisible part to make it visible.

The color structures the shape, it becomes ornamental, incisive and, caught in the material dynamism, it encloses and opens itself by incorporating itself into the rich and variegated colors, in a continuous artistic metamorphosis.

Color is the real protagonist, itself the structure of the composition. The painter kneads, manipulates, orchestrates with a variety of uncommon techniques and means of expression the color which, becoming chromatic magma, flows softly on the support and penetrates with the light creating particular luministic splendor.

It is a dance of colors and lights which, in the dynamism of the tonal articulation, give life to essential expressions, full of human and emotional charge.

A real and imaginary world at the same time, fantastic, internal, visible and invisible, built from color and its fluidity in an extraordinary freedom of expression within an enveloping and dynamic space that blocks the expert and the occasional passerby, inviting him to follow it in an imaginative figurative and poetic journey.

Alfredo Campo


BIAGIO BRANCATO - the painting of Vincenzo Napolitano

critics, Vincenzo Napolitano, Biagio Brancato

The pictorial - creative commitment of Enzo Napolitano takes its promising start around the second half of the seventies. It develops and evolves over the following years along a dual direction: the symbolist and the expressionist, without, however, a rigorous adherence, but in a dialectical - cultural sense. In fact, traces of decorative style and illustrative rhythms with a humanitarian background are present in the artist's works, devoid of any distortion of the natural aspects. An aestheticism, therefore, made more of refined cadences than of tragedy, a sort of melodic and melancholic expressionism. All of this is a precise indication of the artist's attitudes of awareness and responsibility towards the world and its contents, without excessive expansion of his own emotions. This is how he moves in the field of images with a vigilant and attentive perception of inner values, knowing that the pictorial result is valid only when one becomes aware. Also recurrent in his works, in the symbolist manner, are images supported by the conviction that the imagination "does not invent but reveals", so that the artist, as his reflections are consumed, inserts feelings and passions into his work that blend harmoniously with reality. In this vision the colours, the signs of his paintings are indicative of precise states of mind linked to everyday life, not understood as an object but as a subject, within which he delves into his own memories, his own stories. From them emerge allusions and symbols of reality that form the very fabric of the painting, its atmosphere. In short, a painting by Napolitano is much more than an episode, it is a process that transforms becoming into being, a temporary condition into an eternal condition.

Biagio Brancato


CATERINA RANDAZZO - painting by Vincenzo Napolitano

critics, Vincenzo Napolitano, Caterina Randazzo

Images of an inner journey, the works of Vincenzo Napolitano convey moods through abstract painting. Symbolic works, reflection of the world and of human interiority, express a stylistic research based on overcoming the form, but which hides, within it, figural representations. A "hidden figurative" in fact, which from within the "magma" of fluid color, conceals the profiles and essential features of an expressionist matrix. Placed in an intermediate zone between academic abstractionism and personal research, the master's art, with its allusive figurative art, decodable more by the conscience than by our eye, offers figural possibilities that are barely hinted at, but nonetheless essential to the narrative function. The strength of the pictorial matter concretely transmits the idea of movement and renouncing the recognizability of the image, this flow of chromatic matter floods the support like the magma of a volcano. The expressiveness of the artist makes use of a decisive and skilful pictorial sign, where the colors are enhanced in carefully premeditated tonal combinations. A poetic graphically marked by strong color accents, the effects of which are the fruit of a complex research. It is not always easy to interpret and distinguish the various creative moments of his aesthetic reflections. The density of the pigment creates rapid weaves on the canvas without the possibility of second thoughts and the dialectical comparison between the colors appears as an abstract-informal experimentation which expresses, in each composition, a non-random chaos. Work with wise imagination, with immediacy, Vincenzo Napolitano, under the impulse of his emotions, to create fascinating compositions that read in a spiritual key, seem to materialize what comes from his unconscious. Dwelling on this arcane language is like interpreting his inner impulses. Painter of the "non-form" - as a radical antithesis to figurative recognizability - he narrates, with abstract works, an emotional situation, a thought that is expressed with chromatic variations that lead the viewer to wonder what interpretation lies behind such a complex sign. Napolitano is a completely mental painter and expresses his emotions through the application of the pigment on the canvas, paying attention to the tonal relationships that are anything but cold. Cultured in terms of content, he transmits to the observer his cultured inspiration with roots traceable in that aesthetic philosophy which from O onwards paved the way for art theory. In tackling and concluding the aesthetic construct, he does not prepare the painting by drawing on the canvas and does not define, a priori, the spaces to be filled. His palette is a messenger of strength and sensuality. The canvases seem illuminated by a light coming from within, the colors are arranged with energetic awareness in abstract compositions that say more than the apparent "marbled" rendering. Each of these representations is a microcosm of not immediate interpretation, where only careful participation makes it possible to understand the author's philosophical thought. Nothing is left to chance, the spontaneous and soft application, guided by a skilful hand and a deep emotion, cover the whole space of the support with vibrant shades. The amalgam of colors gives, without placing any margin, imaginative continuity to the canvas. The whole is an abstract tangle of colors, where the colors are enough to restore to the viewer the sense and strength of a primordial energy.

Catherine Randazzo


A. CATERINA BELLATI - the painting by Vincenzo Napolitano

critic, Vincenzo Napolitano, A. CATERINA BELLATI

Vincenzo Napolitano, who grew up in the glorious land of Sicily, has always expressed himself through informal painting. The decision to give up the form has characterized his journey since he was a boy, when he took his first steps at the Art Institute of Comiso, to obtain, in 1971, the diploma of Master of Art and later, in 1999, the Diploma in Decoration at the Academy of Fine Arts in Agrigento. Napolitano also taught pictorial techniques at the "Mediterranean" Academy of Fine Arts in Ragusa, a role in which he showed his students how painting can become a filter for understanding the existing. For Assisi he has prepared one of his interventions he soft in color and liqueur in the drafting of the material. Napolitano decisively renounced the recognition of the image in favor of a colored magma that floods the support. And this also happens for Musardo's silhouette horses, on the first of which the Sicilian painter invents a territory of color that transmigrates from chalky white to saffron yellow and is tinged towards the animal's borders with an iridescent green tinged with red, or a cardinal purple that veers towards more earthy tones. The strength of the pictorial matter transmitted expresses the idea of movement in a concrete way. The unrestrained galloping horse is thus described in every fiber launched towards an imaginary finish line. Napolitano's work clearly shows how painting can tell life in all its forms, not necessarily through the visual description of what is happening, but also through the pictorial gesture that erroneously seems devoid of meaning and content. A movement of the hand which here, as indeed in all of Napolitano's works, today the protagonist of a happy artistic season, expresses with great effectiveness the strength and happiness of an animal born to run.

A. Catherine Bellati

 

PAOLO LEVI - the spirit of magma - the painting of Vincenzo Napolitano

critics, Vincenzo Napolitano, PAOLO LEVI

Enzo Napolitano is an artist with an attentive conscience, who in each new creation marks the signifying stage of a laborious inner journey. In making explicit a vision coming from the depths of his soul, he signals himself as the continuation of that artistic generation after the Second World War, which had proclaimed the crisis of the recognizability of the image - and therefore pursued an analytical research of overcoming the form by proposing goals of ethical and spiritual order. His painting is a sort of journey backwards, which starts from the image to access an embryonic chaos, or, if one prefers, the indefiniteness that precedes the rational formulation of thought. As an artist of the spirit, he knows well that the unknowable breath of creation is hidden behind every notch of colour. The visual echoes that he arouses are never neutral, as they arise from a vigilant conscience and from the will to recompose the forms of the disintegration of matter in spiritual harmony. His creative fervor is based on an ethical impulse of reconciliation - in this regard, the clarifications that he himself provided me during the conversation that appears in this volume are illuminating - with a world wounded by violence and, even worse, by 'indifference. To more easily access the structural quality of Napolitano's language, it is appropriate to welcome in the first instance the suggestions evoked by the flow of a painting that springs from a vigorous mental push. In fact, the artist works on a plot of footprints, apparitions, visual deceptions and imperceptible abandonments, which perhaps imply emotional storms. In each of his experiments, Napolitano visualizes the imminence of a seething chaos like a volcanic flow. his work on the canvas is established by the relationship between the plastic consistency of the material and the polychromy, and by the opposition between movement and static nature, between light and shadow. Painter of grandiose darting and vitally expressive flashes, he leaves open an intriguing question about the genesis and meaning of his work, as the apparent randomness of what I would also define a sort of action painting hides a strongly premeditated proceeding. Enzo Napolitano works the pictorial material as if it were an element biologically capable of regenerating itself, or of transmuting itself, through the breath of the poetry that he himself imprints on it. This abstract lyric painter therefore does not reproduce chromatic appearances, but rather the harmonious dissonances of visual experiences, which do not propose intrinsic thematic solutions, but rather sensations referable only to an ideal reality. After all, the provisional and disturbing traces of human images, which still seem to vibrate under the pictorial surface, are visual artifacts, which bring to light archetypal events, emblematically made explicit also by the titles that the artist affixes to them, as interpretative codes of an expressive manner defined by himself with the term Magmatism. The story that is expressed through each new work is produced by a handwriting that is uncanny like an inner cry. The pictorial surfaces flow through the space in decodable pages, which impose themselves as subjective testimonies, or as traces of memory. The artist seems to proceed guided by intuitions that produce luminous flashes and fades, which are organized in successions of chromatic tiles. which are counterpointed by arcane areas, where the gaze takes refuge waiting for a possible answer. However, the control of the material is total, like the calibration of tonal values and the distribution of volumes, which act as plastic forms, superimposing thicknesses, depressions and scratches on the surface of the canvas. In reality, and it is the artist's own words to bear witness to this, we are dealing here with a very particular executive technique, i.e. a material and chromatic mixture accumulated on a figural substrate, which at times allusively re-emerges from the burial and from the cancellation made by the artist. The pictorial amalgam A sort of chromatic proliferation therefore derives from this procedure, i.e or a sort of spontaneous inflorescence that belongs to an uncontrollable nature. L Combining visual pleasure with precise tactile sensations, the artist finally obtains the optically deceptive appearance of an underground movement. Evading the inevitable two-dimensionality of the support, Napolitano favors a stratified, full-bodied, even overflowing and yet perfectly calibrated representation. His pictorial stroke should therefore be defined in the context of informal expressionism, were it not for this the choice to give an objective sense and an immediate legibility in its composition, avoiding the intellectual traps associated with that experimentation. But these works require us to open up different perspectives outside history. In fact, he advances in total freedom, breaking the bridges choirs to the past, and to make room for a poeticity that takes the form of a concrete pictorial material, which arouses allusions without being deceptive. But the complexity of the procedures he implements for the visual results of extreme conceptual clarity, it is not enough by itself to explain the expressive power of his work. This is why I would like here to emphasize the value of that spiritual dialogue which should always take place between the performer of a work of art and the observer. In this case the communication occurs easily, as in pact of complicity rolls. Indeed, the material invention of Magmatism opens unexpected doors to places where the formless form takes on composure and even a satisfying sense of sweetness which is the same sweetness that I was lucky enough to personally appreciate in my encounter with the artist. Thus the pigments of him that only apparently can suggest references to the irrational, compose themselves symphonicly until they reach levels of Objective concomitance with a thought that clarifies all possible questions. In truth, the search for this prompter of premeditated chaos represents solemn shots of truth, and an itinerary that tends to go beyond the pictorial gesture and the mere aesthetic act. The lightness, the transparencies, the thicknesses, the clots, the tonal counterpoints, are the components of an abstraction, which appears unrepeatable in every single result. After all, the chromatic mixture that Napolitano manipulates with his very personal technique has in itself inescapable expressive potential: obtained through the treatment of pigments and naturals, it is the cultured testimony of an artistic continuity, a tribute to the fresco masters of the sixteenth century, from which the artist has learned the secrets of his magmatic intingolo. With the same authority he exercises firm control of his manual skills, in order to deepen the meaning of the chromatic signals, and to establish the construction of the painting according to a rational planning. We are therefore far from that typical automatic writing, which is the prerogative of the avant-gardes to which, to a certain extent, Napolitano can be related. His creative practice is rather that of a deliberately unstable and therefore firmly consolidated experimentation, where the only and right perspective lies in the definition of the richness of the visual results. Certainly he has inherited from the action painting of the American school a certain melancholy mood. he has wisely rejected the above, turning to the intelligence of the gesture, opening and concluding each of the stages of a complete narrative, and proposing himself as the poet of a significant and immediately communicative matter that certainly does not need elusive critical interventions to make himself understood.

P. Levi


R. GUTTUSO - The painting of Vincenzo Napolitano

critics, Vincenzo Napolitano, R. GUTTUSO

In NAPOLITANO's works the almost metaphysical skirmish of the inventions of painting dominates the complacent symmetry allowing the subtlety of introspection to shine through under the aseptic elegance of the surface, the impalpable atmosphere of the allegories which, rejecting the simple schematisms drowned in abstraction on a emblematic scene, lead us to a reading which, without going overboard from the rigorous schemes of style, corroborates the mystical spirit so pervaded by the idea of love enclosed in the spherical symbology. Energetic in the psychological aspect that orbits in the ideal space of enthralling pictorial harmony, this young artist is obviously endowed with a strong personality who, not satisfied with the repertoire of traditional painting, has proceeded to overcome it with deep penetration of symbolic meanings to the point of giving us the sensation that he paints more for himself than for the public; sensitized by the modern cultural movements of Western pictorial civilization, in each painting he notes complex lines of development which, if properly investigated, give the interpretative key to the religious character of the Christian vision of man.

R. Guttuso


G. BUFALINO - The painting of Vincenzo Napolitano

Having gone through various experiences, he has been able to assimilate the positive sides to present them to us in an original way, perfectly responding to his way of seeing and feeling the problems of life. This is why the artist's painting is valid in every sense, mature in the composition, in the colour, in the design of his "bloods" full of a strong human personality.

G. Bufalino


ALBERTO D'ATANASIO - The painting of Vincenzo Napolitano

critics, Vincenzo Napolitano, ALBERTO D'ATANASIO

Vincenzo Napolitano is an artist who more than any other manages to give awareness to abstract painting by giving it the ability to permeate the very interiority of the person who, in Napolitano's painting, becomes the image of an inner journey, as if the form were the casing and color the soul that the shape tries to contain. If in the post-war period there was a crisis in the recognisability of language, Napolitano is the one who pursued a search for overcoming form by proposing to achieve, with color and a formidable technique, goals of an ethical and spiritual order. Napolitano's works are the trace of a path that begins from the image to access the chromatic, primordial, embryonic liquid. His painting is a splendid analysis that leads us to reflect on the distinction between chaos and disorder. In this artist the apparent confusion of colors is the chaos from which the thought takes shape and becomes image, creation, creativity. In this work the magmatic energy of the colors put with the skilful and expert work of those who know how to combine complementary tones with neutral ones joins the movement of Musardo's silhouette and the whole, in the synergy that Artisse has been able to achieve, acquires a new dynamism more intimate.

Alberto D'Atanasio

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