Giovanni Faccioli - Saint Nicholas

The "Still Life" genre emerged in the early 17th century. It consisted of the depiction of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with a naturalistic or photographic reproduction of reality, with contemporary art the "Still Life" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory element. Given the very nature of Giovanni Faccioli's painting, the "Still Life" represented an appropriate research tool. The arrangement of concrete objects in a concrete space, in fact, constituted a perfect stimulus for those who, like Faccioli, based their pictorial language on a formal guise of geometric purism.

The pictorial style of artist Giovanni Faccioli fits into the entire movement of reaction against the historical avant-garde movements of the 20th century, which can be defined as the "return to order." This reaction, in opposition to the abstract and expressionistic languages ​​that had characterized the experimentations of the beginning of the century, saw a return to figurative tradition with an exaltation of form and plasticity. Giovanni Faccioli explicitly connects to this current, which, around the 1920s, was interpreted by the Novecento movement, imbuing his works with a formal purity and a strong geometric character. Faccioli's work has an exquisitely contemporary sensibility in its metaphysical aura of anticipation and mystery, but it also looks to the past, turning its gaze to the great Italian Renaissance tradition of Andrea Mantegna and Piero della Francesca. All of these influences converge in Giovanni Faccioli's work, particularly evident in his still lifes. The artist strives to define a concrete space through the presence of the tabletop, which determines depth, and goes beyond this by breaking through the landscape opening in the background. However, Faccioli's perspective does not emphasize depth, but rather develops as an illusionistic superposition of geometric planes constructed on clear vertical and horizontal lines that generate quadrilaterals. The objects are arranged as pure forms of cylinders and spheres, their plastic qualities enhanced by the interplay of shading and the monochrome technique.

Giovanni Faccioli was born in Colognola a Colli, in the province of Verona, in 1942. From a young age, he trained with the engraver Dante Broglio, learning life-reproduction techniques and a passion for figurative art. His long exhibition career began in 1997 with a long collaboration with the Kass Gallery in Innsbruck. He has subsequently held several solo exhibitions, both in Italy and abroad, especially in Austria, Germany, and Luxembourg. He has always been acclaimed by critics and the public, and his works are held in public and private collections. Giovanni Faccioli's artistic practice stems from a profound study of 14th- and 15th-century Italian art, particularly that of Mantegna and Piero della Francesca, expressed through a strongly metaphysical contemporary sensibility.

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