Menu
Your Cart

The Divine Painter

The Divine Painter

The Divine Painter

After “April 6, 1520” and “Margaret” here is the third work which concludes the trilogy dedicated to Raphael Sanzio of Urbino on the 500th anniversary of his death. This, as well as the other paintings, is my dutiful homage to the supreme Artist, a true giant of Art depicted here seated while admiring the portrait of his beloved Margherita, brush in hand, never satisfied and always intent on bringing the last touch of perfection to the almost Divine perfection of his message.

Specifications
Light source - Ex.: Monochromatic, Two-color Polychromatic
Support - Ex.: Frame, Pedestal Frame
Genere - Es.: Fantasy, Still life, Religious, Landscape Historical
Subject represented - Ex.: Horses, Fruit, Cats Man
Technique used - Ex.: Oil on canvas, Pencil on paper Oil on canvas
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Realism
Artist data
Artist experience - Ex.: Emerging, Expert Expert

Unlimited Blocks, Tabs or Accordions with any HTML content can be assigned to any individual product or to certain groups of products, like entire categories, brands, products with specific options, attributes, price range, etc. You can indicate any criteria via the advanced product assignment mechanism and only those products matching your criteria will display the modules.

Also, any module can be selectively activated per device (desktop/tablet/phone), customer login status and other criteria. Imagine the possibilities. 

€36,000.00
Ex Tax: €36,000.00
  • Availability: Unavailable
  • Dimensions: 90misura x 0misura x 90misura

Option

Order with us, call Customer Care at +39 3509632357
Stefano
STEFANO SOLIMANI
Connect with Us

2018 Premio Marche Forte Malatesta Ascoli Piceno

2017 Biennale Internazionale d’Arte di Roma presso il complesso monumentale del Circo di Domiziano

2016 Mostra Biennale “Carlo Bonatto Minella” dal titolo “Oltre il Corpo l’Anima” a cura di Vittorio Sgarbi

2011 Invitato dal Prof. Vittorio Sgarbi alla 54° Biennale Internazionale d’Arte di Venezia espone al padiglione Italia e a Palazzo Grimani nella Mostra “L’Ombra del Divino nell’Arte Contemporanea”

2010 Premio “L’Arciere” Sant’Antioco a cura di Vittorio Sgarbi

2009 Premio alla Carriera, Terza edizione del Premio Internazionale Arcaista Tarquinia

2008 Primo Premio alla II edizione del Premio Arcaista Tarquinia
Finalista Premio Arte Mondadori

2007 Targa d’Oro Premio Speciale della Giuria “Premio Artemisia”
Premio Arte Mondadori
2006xz Premio Arte Mondadori
Premio Artemisia Ancona

Premio Arte Giorgio Mondadori 2005 Premio Arte Giorgio Mondadori
2003 Premio Arte Giorgio Mondadori

2001 Primo Premio “Premio Tindari” Roma
Premio Arte Giorgio Mondadori
Biennale Internazionale d’Arte Sala del Bramante Roma

1999 Menzione speciale della Giuria del Premio “Lorenzo Lotto”
Primo Premio Medaglia D’Oro “Premio Carlo Crivelli”
Premio “Truentum”
Menzione speciale della giuria Premio “Remo Brindisi” Castello di Mesola
Premio Arte Mondadori

Premio Biennale d’Arte “Villa Ormond” – San Remo
Premio II Biennale città di Terni
Premio Salsomaggiore Arte
Premio Città di Forlì

1980 Primo Premio “Mostra Arte Sacra” Marche

1975 Premio “Arte Val di Nevola”

1973 Primo Premio “Gentile da Fabriano”

1972 Primo Premio alla Rassegna Artistica “Urbs Salvia”

1971 Premio “Mostra Arte Sacra” Marche

1970 Premio Serra San Quirico

1969 Primo Premio Mostra della Vallesina

1968 Premio AVIS Città di Jesi

Pubblicazioni

Vittorio Sgarbi “I giudizi di Sgarbi” Mondadori Editore 2005

Luciano Carini “Artisti in cronaca” La Cronaca Editore 2007

Vittorio Sgarbi “L’Arciere” Ghiani Editore 2010

Vittorio Sgarbi “L’ombra del Divino nell’Arte contemporanea” Cantagalli Editore 2011

Vittorio Sgarbi “Lo stato dell’Arte” Skira Editore 2011

Alberto D’Atanasio “Quando l’eroe è donna” Bevagna Editore 2011

Walter Scotucci “Eretico & Ieratico” Artelito Camerino Editore 2012

Alberto D’Atanasio “La fine del mondo tra apocalisse e apocatastasi. Gli Artisti? I nuovi profeti” Pegasusarte Editore 2012

Vittorio Sgarbi “Oltre il corpo, l’anima” Lizerarte Editore 2013

Giammarco Puntelli “Spiritualità oggi lungo le vie Francescane” La Torre Editore 2015

Giammarco Puntelli e Giulia Sillato “L’Arte e il Tempo” Mondadori Editore 2015

Giammarco Puntelli “Il labirinto dell’ipnotista” Mondadori Editore 2016

Giammarco Puntelli “L’Eternità nell’Arte” Mondadori Editore 2016

Catia Monacelli e Francesca Sacchi Tommasi “Dalla terra al Cielo” Polo Museale di Gualdo Tadino Editore 2016

Giammarco Puntelli “Profili d’Artista” Mondadori Editore 2018

Giammarco Puntelli “Genius” Mondadori Editore 2018

Giammarco Puntelli “Le scelte di Puntelli” Mondadori Editore edizioni 2015 2016 2017 2018 2019 2020 2021 2022 2023


Giammarco Puntelli  "Cari Maestri" Mondadori Editore edizioni 2022 2023

Catalogo dell’Arte Moderna Mondadori Editore annuale

Annuario COMED Comed Editore annuale

Riviste specializzate

ARTE Mondadori

ARTE-IN

FONDAZIONE SOLONIA MAGAZINE

JULIET MAGAZINE

ARTE&ARTE

EFFETTO ARTE


Stefano Solimani nasce nel 1953, suo padre Farmacista e sua madre Insegnante. Fin dall’infanzia dimostra un evidente talento artistico che lo porta all’età di quattordici anni nel 1967 alla sua prima personale presso la Galleria Hotel City di Senigallia.

Dipinge nature morte e paesaggi ispirandosi ai grandi Morandi, Sironi, De Chirico, Lilloni, Dalì. Si laurea nel 1978 in Medicina e Chirurgia presso l’Università degli Studi di Bologna. Nel 1977 e nel 1981, invitato al Festival dei Due Mondi di Spoleto, espone a palazzo Pila e a Palazzo Ancajani.

Nel 2001 espone a Roma alla Torretta Valadier e a Montecarlo, nel 2002 alla Biennale d’Arte di Roma presso le sale del Bramante. Sempre nel 2002, protagonista al Premio Arte Mondadori espone al Palazzo della Permanente di Milano.

Nel 2004 espone a Gent, in Belgio, con grande successo. Nel 2005 è ancora a Milano al Palazzo della Permanente. Nel corso del 2007 fonda ufficialmente un nuovo movimento artistico col nome di “Iperestetismo” volto al recupero della bellezza come cifra assoluta sia estetica che di contenuti nell’ottica di un nuovo Rinascimento. Da questo momento in poi il suo messaggio artistico ruoterà sempre intorno al binomio Bene e Male, Luce e Ombra in cui la presenza del Trascendente si sviluppa nel concetto della “Terra di Nessuno” uno spazio-non spazio visivo dove gli opposti esistenziali si fonderanno nella ricerca continua di una dimensione nuova, inesplorata.

Nel 2008 espone presso la Reggia di Caserta e pubblica come co-autore con la casa editrice Mondadori il libro “Il Teorema dell’Arte” con prefazione di Vittorio Sgarbi. Invitato sempre dal prof. Vittorio Sgarbi alla 54^ Biennale Internazionale d’Arte di Venezia, espone al padiglione Italia e partecipa alla Mostra “L’ombra del Divino nell’Arte contemporanea”, come evento collaterale della Biennale, a Palazzo Grimani a Venezia. E’ inserito nel libro di Vittorio Sgarbi “L’ombra del Divino nell’arte contemporanea”. Partecipa al 54^ Festival dei Due Mondi di Spoleto a Villa Redenta con la mostra dal titolo “A Sua Immagine” riproposta sia presso la “Sala Rossa” del Museo Francesco Gonzaga di Mantova che presso la Rocca Paolina di Perugia.

Nel 2014 conosce il Prof. Giammarco Puntelli che diverrà i Curatore della personale “A Sua Immagine” presso il Battistero del Duomo di Spoleto e la rassegna espositiva “Imagine” a Biella, Milano, Assisi Firenze.

Il 2015 vede l’invito a Milano EXPO a palazzo dei Giuriconsulti nella mostra ufficiale di Expo 2015 dal titolo ”L’Arte e il tempo” a cura di Giulia Sillato e Giammarco Puntelli, a Villa Valsecchi a cura di Vittorio Sgarbi e la mostra personale presso il Museo Diocesano e Duomo di Massa. Sempre nel 2015 arriva la committenza di un’opera monumentale da parte della Galleria Nazionale della Calabria a Cosenza per celebrare la figura di San Francesco di Paola patrono della Regione, opera quest’ultima acquistata dallo Stato Italiano che va ad arricchire la quadreria accanto a capolavori di Luca Giordano e Mattia Preti.

Nel 2016 la mostra personale dal titolo “Gratia Mundi” presso Villa Mirra di Cavriana. Tale esposizione acquista un valore artistico di notevole importanza, frutto di alcuni anni di lavoro, si articola su un percorso storico affidato alla presenza sulle tele di donne celebri della Storia, interpretate con rara partecipazione da una sola modella, Questo è un inno alla femminilità e alla grazia che ne è l’espressione più alta. Su invito del Vaticano nel 2016 lo troviamo nella Mostra ufficiale del Giubileo a Roma presso il complesso monumentale Basilica dei Quattro Santi Coronati dal titolo ”L’eternità nell’Arte”. Invitato alla Biennale Internazionale dell’Arte di Roma nel 2017 espone presso il complesso monumentale dello Stadio di Domiziano.

Nel 2018 è invitato a partecipare al progetto espositivo “GENIUS” anticipazione delle celebrazioni dell’anno Leonardiano con esposizioni a Palazzo Medici-Ricciardi a Firenze, a Palazzo Pretorio e al Museo Nazionale di Anghiari e al Museo Leonardiano di Vinci. Pubblicazione del libro “Genius” della Mondadori Editore sulla figura di Leonardo da Vinci che presentato al Museo degli Uffizi a Firenze. Sempre a Firenze nel 2020 presso il Museo di San Marco “Musiwa” artisti internazionali a confronto e a Napoli a Castel dell’Ovo è invitato alla Mostra “Troisi poeta Maximo” per celebrare la figura del grande attore scomparso.

Sempre nell’ambito delle celebrazioni di Massimo Troisi nel 2022 è al Palazzo D’Avalos a Procida , Capitale italiana della cultura.

Nel 2023 espone presso la Pieve romanica di Urago Mella a Brescia ,Capitale italiana della cultura. Viene invitato a esporre alla prima Biennale internazionale d’Arte di Malta che si terrà nella primavera del 2024 a La Valletta. Mostra "Cari Maestri" Castello Malaspina di Massa e Palazzo dei Principi di Correggio Museo Nazionale "Il Correggio"

Le sue opere figurano da anni in collezioni pubbliche e private sia in Italia che all'estero.


.......... 

2018 Marche Forte Malatesta Award Ascoli Piceno

2017 Rome International Art Biennial at the monumental complex of the Circus of Domitian

2016 Biennial Exhibition “Carlo Bonatto Minella” entitled “Beyond the Body, the Soul” curated by Vittorio Sgarbi

2011 Invited by Prof. Vittorio Sgarbi to the 54th International Art Biennale of Venice he exhibited at the Italian pavilion and at Palazzo Grimani in the exhibition “The Shadow of the Divine in Contemporary Art”

2010 “The Archer” Sant'Antioco Award by Vittorio Sgarbi

2009 Lifetime Achievement Award, Third edition of the International Arcaista Tarquinia Award

2008 First Prize at the 2nd edition of the Arcaista Tarquinia Award
Mondadori Art Award finalist

2007 Golden Plate Special Jury Prize “Artemisia Prize”
Mondadori Art Prize
2006xz Mondadori Art Prize
Artemisia Ancona Award

Giorgio Mondadori Art Award 2005 Giorgio Mondadori Art Award
2003 Giorgio Mondadori Art Award

2001 First Prize “Premio Tindari” Rome
Giorgio Mondadori Art Award
International Art Biennial Bramante Hall Rome


1999 Special mention from the Jury of the “Lorenzo Lotto” Award
First Prize Gold Medal “Carlo Crivelli Award”
“Truentum” Award
Special mention from the “Remo Brindisi” Castello di Mesola jury
Mondadori Art Prize

Biennial Art Award “Villa Ormond” – San Remo
Award II Biennial city of Terni
Salsomaggiore Art Award
City of Forlì Award

1980 First Prize “Sacred Art Exhibition” Marche

1975 “Arte Val di Nevola” Award

1973 First Prize “Gentile da Fabriano”

1972 First Prize at the “Urbs Salvia” Art Exhibition

1971 “Sacred Art Exhibition” Marche Award

1970 Serra San Quirico Award

1969 First Prize Vallesina Exhibition

1968 AVIS City of Jesi Award

Publications

Vittorio Sgarbi “Sgarbi's judgments” Mondadori Editore 2005

Luciano Carini “Artists in the news” La Cronaca Editore 2007

Vittorio Sgarbi “The Archer” Ghiani Editore 2010

Vittorio Sgarbi “The shadow of the Divine in contemporary art” Cantagalli Editore 2011

Vittorio Sgarbi “The state of the art” Skira Editore 2011

Alberto D'Atanasio "When the hero is a woman" Bevagna Editore 2011

Walter Scotucci “Heretic & Hieratic” Artelito Camerino Editore 2012

Alberto D'Atanasio “The end of the world between apocalypse and apocatastasis. The artists? The new prophets” Pegasusarte Editore 2012

Vittorio Sgarbi “Beyond the body, the soul” Lizerarte Editore 2013

Giammarco Puntelli “Spirituality today along the Franciscan paths” La Torre Editore 2015

Giammarco Puntelli and Giulia Sillato “Art and Time” Mondadori Editore 2015

Giammarco Puntelli “The hypnotist's labyrinth” Mondadori Editore 2016

Giammarco Puntelli “Eternity in Art” Mondadori Editore 2016

Catia Monacelli and Francesca Sacchi Tommasi “From Earth to Sky” Museum Center of Gualdo Tadino Editore 2016

Giammarco Puntelli “Artist Profiles” Mondadori Editore 2018

Giammarco Props “Genius” Mondadori Editore 2018

Giammarco Puntelli “The choices of Puntelli” Mondadori Editore editions 2015 2016 2017 2018 2019

Annual catalog of Modern Art Mondadori Editore

COMED Yearbook Comed Annual Publisher

Specialized magazines

ART Mondadori

ART-IN

SOLONIA MAGAZINE FOUNDATION

JULIET MAGAZINE

ART&ART

ART EFFECT


Stefano Solimani was born in 1953, his father was a pharmacist and his mother a teacher. From childhood he demonstrated an obvious artistic talent that led him, at the age of fourteen, in 1967, to his first solo exhibition at the Hotel City Gallery in Senigallia.

He paints still lifes and landscapes inspired by the great Morandi, Sironi, De Chirico, Lilloni, and Dalì. In 1978, he graduated in Medicine and Surgery at the University of Bologna. In 1977 and 1981, invited to the Festival dei Due Mondi in Spoleto, he exhibited at Palazzo Pila and Palazzo Ancajani.

In 2001 he exhibited in Rome at the Torretta Valadier and in Monte Carlo, in 2002 at the Rome Art Biennial at the Bramante halls. Also in 2002, as protagonist of the Mondadori Art Prize, he exhibited at the Palazzo della Permanente in Milan.

In 2004 he exhibited in Ghent, Belgium, with great success. In 2005 he is again in Milan at the Palazzo della Permanente. During 2007 he officially founded a new artistic movement under the name of “Hyperestetismo” aimed at the recovery of beauty as an absolute figure of both aesthetics and content in the perspective of a new Renaissance. From this moment on, his artistic message will always revolve around the binomial Good and Evil, Light and Shadow, in which the presence of the Transcendent is developed in the concept of “No Man’s Land” a visual space-non-space where existential opposites will merge in the continuous search for a new, unexplored dimension.

In 2008 he exhibited at the Reggia di Caserta and published as co-author with Mondadori publishing house the book “Il Teorema dell’Arte” (The Art Theorem) with an introduction written by Vittorio Sgarbi. Invited by Professor Vittorio Sgarbi to the 54th Venice International Art Biennale, he exhibited at the Italian Pavilion and participated in the Exhibition “The Shadow of the Divine in Contemporary Art,” a collateral event of the Biennale, at Palazzo Grimani in Venice. He is included in Vittorio Sgarbi’s book “The Shadow of the Divine in Contemporary Art.” Solimani takes part in the 54th Festival of the Two Worlds of Spoleto at Villa Redenta with the exhibition entitled “A Sua Immagine” (In His Own Image) reproposed both at the “Sala Rossa “of the Francesco Gonzaga Museum in Mantua and at the Rocca Paolina in Perugia.

In 2014 he meets Professor Giammarco Puntelli who will become the Curator of the solo exhibition “A Sua Immagine” at the Baptistery of the Cathedral of Spoleto and the exhibition “Imagine” in Biella, Milan, Assisi and Florence.

In 2015 he is invited to the Milan EXPO at Palazzo dei Giuriconsulti, at the official exhibition of Expo 2015 entitled “L’Arte e il Tempo” (Art and Time) curated by Giulia Sillato and Giammarco Puntelli, at Villa Valsecchi curated by Vittorio Sgarbi and the solo exhibition at the Diocesan Museum and Cathedral of Massa. Also in 2015 comes the commissioning of a monumental work by the National Gallery of Calabria in Cosenza to celebrate the figure of St. Francis of Paola, patron saint of the region, the latter work purchased by the Italian State enriching its gallery alongside masterpieces by Luca Giordano and Mattia Preti.

In 2016 he holds a solo exhibition entitled “Gratia Mundi” at Villa Mirra in Cavriana. The exhibition acquires an artistic value of considerable importance, the result of several years of work, it is articulated on a historical path entrusted to the presence on the canvases of famous women of History, interpreted with rare participation by a single model. This is a hymn to femininity and grace, which is its highest expression. At the invitation of the Vatican in 2016 we find him works at the official Jubilee Exhibition in Rome at the monumental complex Basilica dei Quattro Santi Coronati (Basilica of the Four Crowned Saints) titled “L’Eternità nell’Arte” (Eternity in Art). Invited to the International Biennale of Art in Rome in 2017 he exhibits at the monumental complex of the Stadio di Domiziano (Stadium of Domitian).

In 2018 he is invited to participate in the exhibition project “GENIUS”, an anticipation of the celebrations of the Leonardian year with exhibitions at Palazzo Medici-Ricciardi in Florence, Palazzo Pretorio and the National Museum of Anghiari and the Museo Leonardiano in Vinci. Also in this year is the publication of the book “Genius” by Mondadori Editore, on the figure of Leonardo da Vinci, presented at the Uffizi Museum in Florence. Once again in Florence, in 2020, he exhibits at the Museum of San Marco “Musiwa” international artists in comparison and in Naples at Castel dell’Ovo is invited to the Exhibition “Troisi poet Maximo” to celebrate the figure of the great late actor.

His works have appeared for years in public and private collections both in Italy and abroad.





2022 Exhibition “The faces of Massimo Troisi” Island of Procida

Collective exhibition “Dear Masters” Massa – Malaspina Castle

2021 “Troisi Poeta Maximo” exhibition Castel dell'Ovo Naples

2020 Exhibition “Contemporary Artists in Comparison” S. Marco Museum Florence

2018 “Genius” exhibition in three different locations: Palazzo Medici Ricciardi in Florence, Palazzo Pretorio in Anghiari and Museo Leonardiano in Vinci

A volume on Leonardo da Vinci is presented at the Uffizi Museum in Florence, in which a work by Maestro Stefano Solimani entitled “Genius Dei” is published alongside the “Virgin and Saint Anne”.

2016 Official Exhibition of the Jubilee of Mercy “Eternity in Art” at the monumental complex of the Four Crowned Saints Rome

2015 Collective Exhibition “Spirituality today along the Franciscan paths” at the Rocca Flea in Gualdo Tadino

Official Exhibition Expo2015 “Art and Time” Palazzo dei Giureconsulti Milan

Collective Exhibition at Villa Valsecchi Milan curated by Vittorio Sgarbi

2014: Collective Exhibition “Immagine” Pria Biella Archive

Collective Exhibition “Image” Palazzo Bernabei Assisi

Collective Exhibition “Immagine” Humanistic Library of the Incoronata Milan

Collective Exhibition “Immagine” “Simboli” Gallery, Florence

2012 Collective Exhibition “Art and Therapy” S. Matteo degli Infermi Hospital Spoleto

Collective Exhibition “In Chartis Mevaniae” Rocca Paolina in Perugia

“The Shadow of the Divine in Contemporary Art” S. Agostino Museum Cosenza

“Heretic and Hieratic” Abbey of San Rufino Amandola

  “The End of the World” Salt Warehouses Venice

2010 Bari Chamber of Commerce Exhibition

Collective Exhibition Palazzo Pianciani on the occasion of the Festival dei Due Mondi in Spoleto curated by Vittorio Sgarbi

Collective Exhibition at Ca' Zanardi Venice

2009 “Arka” Gallery Exhibition St. Petersburg (Russia)

Exhibition “the Resurrection” Palazzo Bruschi Tarquinia

“Eros and Art” exhibition Villa Cambiaso Savona

2008 Collective exhibition at Artemisia Gallery “the declinations of the Figure in Art” – Ancona

Exhibition Palazzo della Permanente Milan

2007 Collective Exhibition “Artists in the News” Villa Raggio Piacenza

2006 Collective Exhibition “Magic” at the Estense Castle in Ferrara

2005 Collective exhibition at the “Arteincontri” Gallery in Turin

Collective Exhibition “The Enchanted Zoo” Sale del Bramante Rome

Collective Exhibition “The Man and the Mask” Villa Raggio Piacenza

Collective Exhibition “Pulchra Ecclesia” Brescia

2004 Collective exhibition at the “Studio C” Gallery in Piacenza

Collective exhibition at the Verdi Theater in Firenzuola d'Arda

2003 Collective Exhibition “AUTHOR'S PATHS” Galleria l'Angelo Azzurro Rome

Art at the Cremona Fair

Contemporary Art Fair “Immagina” Reggio Emilia

Collective Exhibition "The Rooms of Eros" Piombino Elba Island

Contemporary Art Fair “Immagina” Reggio Emilia

2001 Exhibition “Journey among the Artists of today” – Palazzo dei Congressi Pesaro

Collective Exhibition “Lorenzo Lotto” Palazzo Paccaroni Fermo

Collective exhibition “La Seduzione” – L’Angelo Azzurro Gallery, Rome

International Exhibition “Il Fiorino d’Oro” Florence

Exhibition at the Palazzo della Permanente Milan

1999 Collective exhibition at the Galleria Malatestiana in Rimini

Art Collective “… from the 20th century to the Future” Palazzo S. Rocco – Fermo

1990 Emerging Artists Collective at the Palazzo dei Congressi in Florence

2019 Personal exhibition dedicated to Leonardo da Vinci at the National Museum of Anghiari in the Sala della Robbia

2016 Personal Exhibition “Gratia Mundi” at Villa Mirra in Cavriana

Exhibition “From Earth to Sky” Church of S. Francesco Gualdo Tadino

2015 Personal exhibition at the Diocesan Museum and the Cathedral of Massa

2014 Personal Exhibition “In his Image” Baptistery of Spoleto Cathedral

2013 Personal Exhibition “The Mystery of the Absolute” at the Milano Art Gallery curated by Prof. Mina Gregori

2012 Personal Exhibition “A Immagine di lui” Civic Museum of Bevagna

Personal Exhibition “Vagiti Ultimi” at the Ancient Roman Cisterns of Atri

2011 Personal exhibition at the Francesco Gonzaga Museum Mantua

Personal Exhibition “In Image of Him” Festival of the Two Worlds of Spoleto – Villa Redenta

2010 Personal exhibition Villa Cambiaso Savona

2009 Personal exhibition at the Galleria dell'Uva Ferrara

2008 Personal Exhibition “Transfigurations” Palazzina Azzurra San Benedetto del Tronto

Exhibition Palazzo della Permanente Milan

2007 Personal Exhibition “The Secret Rooms” Atelier dell’Arco Amoroso Ancona

2006 Personal exhibition at the “Galleria 18” Bologna

2005 Exhibition Palazzo della Permanente Milan

Finalist at the Mondadori Art Prize

2004 Personal exhibition “Corpus Mirabile” Palazzo dei Capitani Ascoli Piceno

Personal exhibition at the Gnaccarini Gallery in Bologna

2003 Personal exhibition at the “Ammuar” Gallery in Catania

Personal Exhibition “Appearances and Revelations” Fenaroli Lanciano Theatre

2001 Invited by the Municipality of Rome Personal Exhibition at the Torretta Valadier

Invited by the Department of Culture of the Municipality of Ancona, personal exhibition at the Arco Amoroso atelier

Personal exhibition at the Palazzina Azzurra San Benedetto del Tronto

International Exhibition “Il Fiorino d’Oro” Florence

X Biennial City of Rimini

1999 Personal exhibition at the “Pisa Arte” Exhibition Center – Pisa

Second Prize National Painting Competition ASLAI – Elba Island

IV National Biennial of Painting City of Rimini Award

“Pisa Arte” Gold Medal

1988 Personal exhibition at the XXXI Festival dei Due Mondi in Spoleto, he exhibits at Palazzo Ancajani

1982 Personal exhibition at the “Il Quadrato” Gallery in Rome

1981 Performs all the sketches for the commemorative medals of the Piceno Medical Academy

1979 Second solo exhibition at the Le Logge Gallery in Assisi

1978 Personal exhibition at the “La Piccola” Gallery in Turin

1977 Invited to the XX Festival dei Due Mondi in Spoleto he exhibited at Palazzo Pila

1976 Personal exhibition at the Le Logge Gallery in Assisi

1969 First Prize Vallesina Exhibition

1967 First personal exhibition at the Hotel City Gallery in Senigallia

Silver medal Vallesina Exhibition


Stefano Solimani is a painter with an ancient spirit, not so much for his following of the traditional pictorial teachings, but for his taste which, in some cases, is explicitly citational of Italian’s seventeenth century’s iconography. This, however, does not suffice to define him, for in his paintings, in the last decade, cohabit oneiric landscapes that allude to the symbolic language of the preconscious and depictions of the human body – especially the female one – whose hyperrealism verges on crudity. When I speak of hyperrealism, I do not mean to confuse Solimani’s message with that of the American painters of the 1980s, who perceived and portrayed everyday life in a stylistic code of totalizing objectivity. This artist, on the contrary, focuses on the reality of the particular in a key that is anything but decipherable, unless one attempts to decode it through those seemingly dissonant, in some cases even informal and purely chromatic landscape pieces that act as a warp to the narrative. I am not familiar with Solimani’s previous works, but these works show a remarkable sign and chromatic maturity, which is accompanied by scenic taste, a formal sense of harmony and a strong expressive capacity. The themes treated are the result of a theoretical elaboration based on a tested knowledge of the luminous potential of both oil and acrylic. Significant and emblematic is the work Beyond the Boundary, from 2000, or from the same year, Woman with a Black Hat; not to forget Abandonment, a small painting executed in 2003, where a young woman caught in all her sensual nudity expresses in her gaze a painful astonishment. These figures cannot be characterized properly as portraits; if anything, they are volumetric constructions dense with emblematicity and questions about our inner lives. A painter of the signifier, Solimani plays on different messages using iconic symbolism as an element of rarefying the image and rebalancing the content of the construct. When an artist’s message is pregnant, multiple keys of interpretation are possible, choosing one, however, strictly belongs to the subjective sphere and sensitivity of the observer. Personally, I see in Solimani a dream teller, an evoker of obscure events, of an “unspoken” that presumably pertains to his private sphere. Indeed, each of his pictorial images brings forth a kind of tense aura, each of his paintings foreshadowing a concluded narrative that expands with the eloquence of a letter addressed to a privileged recipient. Solimani is an artist who has chosen to move within tradition, has evidently drawn from the luminous lesson of the Mannerist and Baroque schools, yet is utterly contemporary in his quick wit and geometrically allusive settings. While distinguished by technical inventions and a strong perception of corporeity, the mastery of the pictorial subject matter is not the only measure of his authenticity, for it is the poetic afflatus that holds his hand, before he trespasses on the perilous terrain of virtuosity and lends iconic sovereignty to his fervidly sensual imagination.

Vittorio Sgarbi – from “I Giudizi di Sgarbi”, Mondadori Editore, 2005

Stefano Solimani has the ancient soul of a Renaissance master with an innate taste for Beauty, synonymous with aesthetic and ethical perfection. Keeping himself out of time and contemporary history, he moves in the infinitude of creative space with a strict and controlled executive discipline, which belongs to him since his youthful years of apprenticeship. His works are meticulously pondered and then structured according to the absolute canon of verisimilitude. In this context, the preparatory pastel studies on paper testify to the precious sign texture from which his oil depictions are born and evolve, presenting themselves to the viewer as closed and concluded works.

Paolo Levi

Solimani has a meticulous and skillful technique and builds his works by studying the arrangement of masses in relation to color and light. Nothing is left to chance. His light that reveals the figures is not Caravaggesque although it is reminiscent of it; the light Solimani paints is a light filtered by his consciousness, dosed so that colors stand out in relation to the figures that remain static in the enchantment of revelation. In Solimani it is the work in its construction that generates the contemplation of the event described so that the light does not affect the work, does not become a mysterious atmosphere or a bed where holiness is revealed. More simply I would say that the subject is illuminated because it is true, real; the light is reflected by the colors and the mystery is revealed. It is the illuminated subject that allows God’s light to manifest itself, nothing else is needed. The gazes of his figures can therefore have no particular connotations, no excitement that can evoke particular motions of the soul. The figures that this great artist creates simply have the fixity of one who is on a different plane from the beholder. The artist, in this case, posits the human figure as an “epiphany “of a truth perceived and elaborated by human cognition. The image and symbols are composed in the painting so that the viewer can perceive the artist’s personal concept rather than a universal, religious hieratic message. There is no catechesis, no cathartic action, what Solimani seeks is the ancient awe that is generated in the exercise of “mimesis”: matter, nature, are subject to the passing of time and it is the artist who by his doing makes them perpetual, immortal. The artist has performed the prodigy of creation insofar as he possesses the gift of creativity and therefore has the awareness, more than any other man, that he is very close to the image of God the Creator.

Alberto D’Atanasio – from the catalog of the exhibition “In His Image” on the occasion of the 54th Festival of the Two Worlds in Spoleto, 2011

The excellence of art and painting knocks at the eternity of a conventional time. Here a young woman makes fun, in a semi-serious attitude, of the man who observes and his uncertainty, his rules. Stefano Solimani is a contemporary artist of great technical ability, one of the best figurative artists of our time, intelligent in immersing his representations in a philosophical and narrative knowledge that is sometimes enigmatic, and he is delightfully astute in posing those questions that shake consciences and thoughts to arrive at convincing and comprehensive pictorial solutions. His themes are well known, both those of a religious nature, experienced with secular representation, and those involving history and the female figure. An educated man who is careful to sow clues and symbols, he is endowed with gifts and disciplines that allow him to elaborate, in the artistic space, a patient and excellent painting in the service of a narrative that often transforms from philosophical to narrative, and vice versa. He captures, with a syntax attentive to every detail, the historical moment, rendering it, with a pictorial and artistic process that is out of the norm, contemporary and vibrant, conceptual and technically surprising. In him we do not find shadows and rhetoric of quotation or decoration, but the essential development of a thought that meets the interlocutor in dialogue and meditation.

Giammarco Puntelli – from “Puntelli’s Choices,” Mondadori Editore, 2015

“I feel that time falls and makes noise in my soul…” writes Cardarelli in one of his poems, and Solimani on a line of natural continuity seems to add “leaving footprints of love and pain…” Through twenty works, this artist demonstrates how the female figure in its full maturity and beauty is the protagonist of his creative world with all its charge of eros, understood as the original instinct of life and love. Although the figures are rendered through a hyperrealism based on an excellent executive skill in the depiction of every detail of the bodies, they know how to introduce us into that mysterious realm of primary forms, of archetypes related to the origins of life. Each painting appears as an incomplete page of an ancient code, or piece of a decomposed puzzle where the various planes of the tale develop through nocturnal colors the innermost meaning of the works, letting us glimpse various possible interpretations. Each figure of a woman takes on a primordial value of welcome and fertility but is never untethered from the aesthetic search for “divine proportions” in a care of figurative language and style that is not based only on external and formal characters, but on a central idea that enlivens them all: life understood as an indispensable medium of love and pain.

Anna Iozzino

By now, as I said, the figure dominates every one of his paintings unchallenged, and it is a representation of extraordinary realism, where skill is combined with interpretation, where the detail becomes symbol and metaphor, where the whole constitutes a reason for reflection and stunned amazement. Truth truer than truth, and not only because it is constructed with great rigor and knowledge, but because it is filtered by emotions, projected beyond the physicality of bodies and situations. A hyperrealism capable of capturing the viewer and astonishing him for the perfection of the execution, for the sensuality of the representations and the beauty of the embodiments, but also capable of moving the heart and the mind, of questioning the spirit and being, therefore, topical and contemporary. But Stefano Solimani was also current and contemporary some time ago when his expression was concentrated in the description of desolate and bleak metropolitan suburbs caught in the deep and distressing nocturnal silences, when, with lucidity and realism, he showed the great solitudes of our days through pale and blurred lights that illuminated opulent and shapely streetwalkers. And even today, years later, his urge to investigate and peer into the phenomena of everyday reality has by no means been exhausted; on the contrary, it has become stronger and more engaging, more refined and subtle, and his brush works like the wide-angle lens of a good photographer taking close-up shots, with breathtaking close-ups, of beautiful women’s bodies, sensual and attractive nudes, gently camouflaged and hidden erotism that ignites desires and passions. The nude now serves him as a mirror to attract looks and attentions, but also and above all to denounce conditions and situations: widespread voyeurism, the superficial and light use of beauty, easy compromises and the desire to transgress so fashionable and widespread today. Extraordinary and perhaps unique among so many that can be observed is his Hyperrealism, which succeeds in capturing shadows and nuances, lights and vibrations, distances and volumes, masterfully creating photographic deception, the physical need to touch the work to discover its makeup, the astonished amazement at such perfection. A perfection that envelops every tiny anatomical detail, every garment and then subsides in the gaze where the eyes bring in sparks of life, communicate emotions and moods. Big eyes, expressive eyes to tell anxieties and loneliness, victories and defeats, joys and disappointments. An Intense expression addressed to the great human problems, because it goes beyond the boundaries of beauty and aesthetic perfection and becomes a voice of secret intimacy, an objective reflection of our tormented days.

Luciano Carini from “Artists in the Chronicle” – La Cronaca Editore 2007

Looking at Maestro Stefano Solimani’s painting, I am reminded of the sentence that Stefano Zecchi, the famous art historian, wrote in one of his books, entitled “Understanding Art,” which is, verbatim: “The most important word in the art world is beauty.” Then, of course Zecchi gives various interpretations of beauty, but that is another matter. What I want to express, however, is how much Stefano Solimani’s art adheres perfectly to Zecchi’s sentence, since in the images Solimani depicts, that is, in the perfect bodies, in the expressive gazes, in the harmonious limbs, there is the rediscovery of a beauty that harks back to the models of the seventeenth-century painters, in a word, to absolute beauty. It is not for nothing, in fact, that the Master founded in 2007, an artistic movement to which he gives the name “Hyperaesthetics,” thus proclaiming himself the father of a way of making art all aimed at taking possession of aesthetic harmony and beauty, as one of the most important means of saving the world from the horror toward which, in many ways, it seems to be heading. He thus comes to reaffirm the priority of aesthetics in art, implementing it by depicting the corporeality of human figures, mostly women, who have always been the repositories par excellence of the concept of beauty. These are women whose femininity the Painter focuses on through the figural intensity of anatomical perfection, representing them in the paintings in a variety of forms of beauty, always classical. Forms of beauty that Solimani charges with a great charm made, yes, of sensuality, but also, and for much of it, of an evocative inner light that illuminates and transfigures them. Thus transfigured, they appear immersed in a surreal dimension where they acquire an additional charm that makes them rise to authentic as well as unusual symbols of exuberant carnality and at the same time of mystical spirituality. It is in this dimension, which I would call “symbolic surrealism,” that the image not only reveals an intense aesthetic harmony, but also highlights something deeper, higher, and more mysterious. Depicted in ecstatic expressions and attitudes, these powerfully sensual creatures, yet as if enraptured by a mystical ecstasy, are propelled toward a hieratic contemplative spirituality, dare I call it sacred. And perhaps such a definition is not entirely incorrect, for in this vibrant, perceptible sign of sacredness, is already contained the embryo ready to germinate in the works that the Master will present in a forthcoming exhibition show of his, concerning precisely the sacred, in Venice. But, returning to our Exhibition, these figures of women, affirm their presence with detachment, and at the same time, they ask for nothing more than to be observed, because what is beautiful gives joy, and, aware that they arouse joy in those who look at them, they seem to want to offer it as a tribute in honor of beauty itself. That’s why the images that Solimani creates, while realistic to the highest degree, so much so as to be called hyper-realistic, also belong to a dreamlike reality, in that they are expressed in a dreamy, suspended, inexplicable, abstract dimension, so that each of these works, although figurative, can also be considered “a classic abstract painting.” For abstraction is not only that made up of vertical, horizontal, curved lines, or in any case an unrecognizable drawing: abstractionism is also that which, starting from the physical, at a certain point, unties itself from the physical, creating a new reality that has no connection with the physical. Solimani thus focuses on a conceptual thought of this abstract and therefore indecipherable reality, and arrives at a kind of decomposition of space and therefore of the thought that animates it, through the polished perfection of color, the impact of volumetric forms, the perception of an absolute harmony, which for this reason becomes emblematic. He then leaves to the viewer the recomposition of this same space, since he certainly does not intend to offer the viewer the object of a prefigured reality , but to allow the viewer to prefigure this reality, according to his own tastes, his own ability to perceive the characters, his own sensibility. Therefore, the Master makes use of both oneiric symbolism and abstractionism to make the image rarefied and enigmatic, in order to give it many interpretative keys, because like any great painter, Stefano Solimani is also a narrator of dreams and events, but in the interpretation of these, one must moreover always keep in mind that, in his painting, what matters most is the unspoken, or rather the non-visible. It is that kind of openness that he never leaves out in his narrative, so that the viewer can become part of it, and here expand the limits of his own visionariness, to such a point that the work of art observed, can also become a little bit his own. Although Solimani’s pictorial gesture moves in the tradition of Classicism, draws on the Renaissance, makes use of Surrealism and Symbolism, the flair and energy with which he works are very current, cast in today’s reality and therefore fast, allusive and ambiguous, magically engaging and extremely captivating. Moreover, and I must add this because this is in my chords, his pictorial gesture is guided by a deep poetic afflatus that is grasped with emotion and joy, but does not entangle the images too much; on the contrary, it helps to liberate them, adding to each, if possible, an even greater solemnity of grace, harmony, in a word, beauty. And here I go back to the same sentence of the art historian Stefano Zecchi, a sentence already quoted at the beginning of my speech and which I like to reiterate, namely that “the most important word in the world of art is beauty.” Because, as I hope you were able to grasp from my words and as much better you can understand by looking at his works, the art of Maestro Solimani, is perfectly inscribed and described in this sentence.

Francesca Maria Ferraris

Maestro Stefano Solimani’s masterful pictorial-descriptive propensity no longer surprises us; if anything, we can acknowledge that it amazes us every time he comes up with engaging themes such as today’s “Pauline Imperial Venus.” The absolute propriety of language with which he explicates his art, speaks to us of very personal registers, anecdotal or historical motifs understood and imbued with perceptible humanitarian addendums that, as they are told, rise to delicate hints of lyricism. Inherent and evident in the Maestro is the ability to conglobate multiple references where we can appreciate the clarity so dear to Hayez, Ciseri’s cue of ideal beauty, and in his seated or reclining models, musicians or divas tout court, there are multiple honorary citations addressed to Titian, Raphael and Canova.

Gastone Ranieri Indoni

The Artist, Stefano Solimani, carries out commissioned works relating exclusively to portraiture

Information on cookies
This site uses cookies to offer you a better browsing experience. By using our service you accept the use of cookies in accordance with our cookie policy.