Antonio Nunziante - Objects

The “Still Life” genre emerged at the beginning of the 17th century. It consists of depicting compositions of inanimate subjects, in most cases flowers or fruit. While at the beginning of its history it provided painters with an opportunity to attempt a naturalistic or photographic reproduction of reality, in contemporary art “Still Life” also becomes a way of interpreting reality. Indeed, as will happen, for example, in Cubist avant-garde or in Giorgio Morandi, the profound exploration of objects will culminate in a conceptual representation, taking it beyond the mere sensory data.

The way in which the subject has been represented draws inspiration from hyperrealist trends. Hyperrealism aims for a totally objective representation of reality: the artist’s intention is to reproduce what is before their eyes without any interpretation. In this sense, hyperrealist aesthetics also constitute a paradox, often consciously sought by artists. Indeed, thanks also to the use of very aggressive techniques inspired by the world of advertising and the use of bright color palettes, a rendering of naturalistic data is achieved that is so pure it seems illusory, deliberately fake. Antonio Nunziante’s hyperrealism often focuses on rooms. Interiors of homes, rooms that the artist impresses upon the canvas with his objective lucidity. The presence of life is reduced to a minimum, delegated solely to the existence of used objects, used by who knows who. In these interiors, therefore, one perceives a sense of immobility, of unreal suspension. So much so that, together with the fact that formally Nunziante practices a deliberately illusory realism, one can speak of a metaphysical aesthetic language.

Antonio Nunziante is a Neapolitan painter born in 1956. His poetics is poised between Metaphysics and Symbolism, supported, on a formal level, by a remarkable hyperrealist technique. After his early experimental beginnings under the name Rascal Babaloo, his interest will shift more and more towards painting from life. His first monograph “Nature silenti” is from 1994, inspired by Flemish art. In 1996, at the exhibition “The Value of the Figure,” his works are exhibited alongside those of the Italian masters Boeri, Cascella, De Chirico, Guttuso, Modigliani, Morandi, Marino Marini, Severini, and Sironi.

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