ITALIAN MODERN AND CONTEMPORARY ART - EXPRESSIONIST ART - ORIGINAL ART PRINTS AND LIMITED EDITION FINE ART GRAPHICS
ARTIST: GIANNI PISANI (NAPLES, 1935 - 2022)
SUBJECT: TWO FIGURES ON ABSTRACT BACKGROUND - THE PORTRAIT OF LOVERS - LOVERS FLYING
ORIGINAL COLOR LITHOGRAPH ON SHEET
SIGNED IN PENCIL AT LOWER RIGHT "G. PISANI" AND DATED 1987
NUMBERED IN PENCIL LOWER LEFT 171/200
LIMITED EDITION LITHOGRAPH WITH 200 COPIES, THIS IS NUMBER 171.
LOWER RIGHT BEARS THE STAMP OF RAI, RADIO TELEVEVISIONE ITALIANA, WHICH COMMISSIONED THE WORK.
IT IS IN GOOD CONDITION, WITH SLIGHT TRACES OF FOXING ON THE WHITE MARGINS OF THE SHEET
SHEET MEASURES: 26 3/4 inch (CM 60) WIDTH X 19 3/4 inch (CM 50) HEIGHT
GIANNI PISANI (NAPLES, 1935 - 2022)
Master of contemporary painting, experimenter in the languages of Abstraction, Informal and Pop Art, declined in a luminous and Mediterranean key but traversed by a deep and introspective vein. In addition to being the author of a long, dense and personal artistic research, Pisani was one of the most active directors of the Academy of Fine Arts in Naples, carrying out with conviction a policy of opening up the teaching and the institution, through the organization of exhibitions, projects and reviews in collaboration with some of the city's most influential galleries. Pisani carried on his activities as director and artist with the same intensity and coincidental motives.
Born in Naples in 1935, it was at the Academy that he began his career, a student of Emilio Notte. Already at the age of 20 he received his first artistic recognition, with the work Crocifissione, from 1955, thanks to which he won the Prize at the National Exhibition of the Academies of Fine Arts and the Cesenatico Prize. The work was made on the unconventional support, as much out of material necessity as out of conceptual impulse: not having a canvas at his disposal, Pisani used a mother's bedsheet, loading the sacred theme with biographical references and initiating an experimentation with the multiplicity of media that would characterize all his subsequent research.
First close to Expressionism, in 1960 he moved closer to the most current international trends, between New Dada and Object art, to get closer in the 1970s to Pop Art. In 1968, together with Dina Caròla and Anna Caputi, he directed the historic Galleria Il Centro, while in 1969 he was one of the signatories of the founding charter of the Galleria Inesistente, one of the most interesting and advanced experiments in public and relational art of that period. In 1982 he was professor of painting at the Brera Academy of Fine Arts in Milan, but in 1984 he returned to Naples, first teaching and then becoming director of the Naples Academy of Fine Arts, a post he held for 14 years. He worked on several projects in collaboration with some of the most influential figures in Italian contemporary art, such as Gillo Dorfles and Lucio Amelio.
He has exhibited in many institutional and private venues abroad, from the United States to Germany. In Italy he participated three times in the Rome Quadriennale, 1960, 1965, 1986. In 1995 he participated in the 46th Venice Art Biennale. In 1999 a large solo exhibition was dedicated to him at the Royal Palace in Naples, while in 2003 at Castel Dell'Ovo and in 2016 at PAN - Palazzo delle Arti in Naples. His works are kept in many public collections in the city, at Castel Sant'Elmo, Museo di Capodimonte and Madre. One of his works, The Train Leaving the Island, is installed outside the Salvator Rosa station of the Naples Metro. He died in Naples in May 2022. Since then, retrospective exhibitions and books of art criticism have taken turns to pay tribute to one of the most important artists of the Italian artistic avant-garde of the 20th century.
In his paintings, the sense of perspective is lost to give way to a neurotic and destabilizing chromaticism. A spatial and existential deconstructionism is manifested, without dogma, stereotypes or rules, but based on principles aimed at dismantling the subject to reveal an off-center self. Benjamin's porous Naples, the shadowy zone of modernity inhabited by invisibility and indeterminacy of form, emerges with force and vigor from Pisani's canvases: deconstructionism denies the closure of a subject caged in its everydayness and invites it to question itself and project itself outside, into an indeterminate chaos.
Although affected by the strong influences of some artistic currents of the 20th century, his painting appears different and unusual. Based on the principle of decomposition and recomposition, it is distinguished by a personal and unique way of reworking a multitude of fragments shattered and scattered seemingly at random, where the attempt to reamalgamate each small piece or a shred of life becomes the main matrix of creative invention. A painting that is not always easy to read, concealing a microcosm full of contradictions and conflict, and for those who would venture to decipher the cryptic assumptions, it reveals a dichotomous reality, as befits the best tradition of Neapolitan popular culture. The stylistic research in the sphere of painting, is joined by Pisani by performative actions and the creation of surreal simulacra of undoubted pop inspiration, often with a purely provocative and polemical flavor or with an allusive and metamorphic aspect.
After the brief forays into abstract art and the object parenthesis, with firm conviction the artist returned to paintings, often of large dimensions and with subjects strongly linked to his own experience or traumatic events, such as the 1980 Irpinia earthquake ("All the houses were falling "). In that period, his art recovers the bright and primitive hyperchromatic expressionism of his early days, feeding, in turn, on existential narratives. Other works find both pictorial and plastic expression in a series of "Stairs, " which harkens back to the story of the love chase.
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