Giovanni Frangi - Ale in Ponza

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

The work of artist Giovanni Frangi is essentially based on an expressionist approach to the synthesis and abstraction of subjects, even when they draw on traditional iconography such as landscape. Frangi's expressionism is expressed through a synthesis of the subject matter, conducted through sinuous, curved lines and the definition of large fields of intense color. This brings him closer to Fauvism. Particularly in landscape series such as the present work, we see how the artist subjects phenomenal reality to an extreme synthesis, somewhere between brutalism and infantilism, conducted through line and color, which is highly reminiscent of Matisse's style but achieves almost informal results. Indeed, the pictorial gesture takes on a leading role, placing Frangi's style in a totally contemporary context. Even in terms of palette, the chromatic range of these landscapes can be described as truly expressionist. In this case, the aggressiveness of the orange, contrasting sharply with the black and green, creates an extremely pronounced expressionistic effect.

Giovanni Frangi (Milan 1959) made his debut in 1983 with his participation in a group exhibition of young painters and sculptors at the Rotonda di Via Besana in Milan. This first experience was followed, that same year, by his first solo exhibition at the Galleria La Bussola in Turin. In 1986, he had another solo exhibition at the Galleria Bergamini in Milan, whose catalogue included an essay by art historian Achille Bonito Oliva. In 1989, for the first time, he decided to cross national borders, exhibiting at the Galerie du Banneret in Bern, where he returned again in 1990 and 1992. This was followed by exhibitions in: Barcelona (1989), New Orleans (1993), Carmel (1994), Lausanne (1995), Hong Kong (1997), Marseille (1998), San Francisco (2000), Los Angeles (2001), Beijing (2005), Hanoi (2007) and Frankfurt (2008).

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