Tino Signorini - Sea and Clouds

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 is a clear example of an expressionist and abstract landscape. Nature is interpreted in an extremely synthetic manner, with an exercise in reduction that could almost be described as brutal, were it not for the fact that everything in Tino Signorini's paintings takes on an ethereal and weightless quality. The surface is completely two-dimensional, with no concessions to spatial depth. The brushstrokes delineate the landscape's elements through seamlessly overlapping pictorial vibrations. Color is used with a decidedly emotional and spiritual interpretation, almost disconnected from reality. The work is therefore highly significant for Tino Signorini's conception of landscape painting. For this painter, nature takes on a fully existential aspect, transfigured by his expressionist, abstract, and minimal pictorial gesture.

Tino Signorini (Tripoli, Libya, 1933 – Palermo, 2020) arrived in Sicily immediately after the end of the war, crossing a devastated Italy by train on an interminable journey lasting 12 days. In his early twenties, he began painting, while not abandoning his passion for poetry, especially the verses of Camillo Sbarbaro and Eugenio Montale. One of his favorite techniques is conté, a kind of soot that covers urban views and offers a striking depiction of Palermo, with its crumbling walls immersed in a constant twilight. This twilight he himself seemed to be entering in 1985, when he decided to abandon painting, only to return to it with renewed fervor in 1996. Two years later, he exhibited a selection of sixty works created since 1968 at the Galleria La Rocca in Palermo.

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