Antonio Nunziante - Objects

The "Still Life" genre emerged in the early 17th century. It consisted of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with naturalistic or photographic reproductions 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.

The manner in which the subject was depicted draws inspiration from hyperrealist currents. Hyperrealism aims for a completely objective representation of reality: the artist's desire is to reproduce what he sees before his eyes without any interpretation. In this sense, the hyperrealist aesthetic also constitutes a paradox, often consciously sought by artists. Indeed, thanks also to the use of very aggressive techniques, inspired by the world of advertising, and the use of bright color palettes, a rendering of the naturalistic element is achieved so pure as to appear illusory, deliberately fake. Antonio Nunziante's hyperrealism often focuses on rooms: interiors of homes, rooms that the artist captures on canvas with his objective lucidity. The presence of life is reduced to a minimum, delegated to the sole existence of objects used by who knows who. In these interiors, one perceives a sense of immobility, of unreal suspension. So much so that, together with the fact that Nunziante formally practices a deliberately illusory realism, we can speak of a metaphysical aesthetic language.

Antonio Nunziante is a Neapolitan painter born in 1956. His poetics straddles metaphysical and symbolist art, formally supported by a remarkable hyperrealist technique. After his initial experimental work under the name Rascal Babaloo, his interest increasingly shifted toward painting from life. His first monograph, "Nature silenti," inspired by Flemish art, was published in 1994. In 1996, at the exhibition "Il valore della figura," his works were displayed alongside those of Italian masters Boeri, Cascella, De Chirico, Guttuso, Modigliani, Morandi, Marino Marini, Severini, and Sironi.

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