Paolo Francesco Fiorentino - Untitled

In the history of art, a clear distinction can often be made between figurative and abstract stylistic movements. However, when an artist's goal is to depict an object that resonates with phenomenal reality but is also charged with hidden and symbolic meaning, this boundary can become blurred. Symbolism and Expressionism are emblematic stylistic movements in their conceptual interpretation of reality, with an iconic rendering of images and a symbolic interpretation in the use of color. In Francesco Paolo Fiorentino's painting, abstract and figurative art blend almost seamlessly.

As we can see from his works, Francesco Paolo Fiorentino's starting point is tangible reality, leaving visible traces of it in his work. This allows Fiorentino to modulate the forms and positions of his characters in a suggestive manner, engaging the viewer in the communication of a strong expressive tension. Fiorentino's experimental approach, however, is expressed primarily formally; indeed, his language reflects various aesthetic influences of contemporary art. First and foremost, the expressionist synthesis of his subjects, reduced to the essential by a nervous style that simplifies their forms with a frenetic rhythm. In terms of color, the artist draws on a fluid gesture and composition dictated by his irrepressible creativity. Finally, from a chromatic perspective, Fiorentino favors a palette consistent with the expressionism of his style: the colors are electric and acidic in their provocation.

Francesco Paolo Fiorentino was born in San Giovanni Rotondo in 1935, where he lived and worked until his death in 1986. From 1957 to 1985, he held numerous solo and group exhibitions in Italy and abroad. He also dabbled in sacred art, creating an altarpiece for the church of Santa Maria delle Grazie in San Giovanni Rotondo, the stained glass window and altars for the church of San Giuseppe, and works of mercy for the church of Santa Maria delle Grazie in San Giovanni Rotondo, including the Ascension of San Felice into Heaven in the small church opposite Padre Pio's confessional. In 1962 he executed “La Virgen de las penas” for the cathedral of Arica (Chile), the baptismal font for the church of Sant'Onofrio in San Giovanni Rotondo (1962) and the Via Crucis with the oval for the resurrection for the mother church of Santa Maria delle Grazie (unfinished work 1986). Other paintings of his are scattered throughout Italy and the world, owned by private collections and some museums.

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