Chicco Ferrari - A primordial concept in the Aeolian Islands

Landscape has always been a central focus of 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 exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the 16th century; and finally with the depiction of every single vibration of light on objects in Impressionism. In the artistic production of artist Chicco Ferrari, landscape often takes center stage, serving as inspiration and a subject for research in developing a language poised between Expressionism and Surrealism.

Chicco Ferrari's works present a landscape style that draws on both Expressionist and Surrealist influences. Reality is interpreted in an extremely synthetic manner, with a marked reduction of sensory data. The brushstrokes delineate forms in a very animated manner, and delving even more specifically, we can see how Chicco Ferrari depicts vegetation with a series of almost gestural pictorial marks. A highly plastic definition of objects is often found, so much so that, in some cases, they take on square volumes within a complex space. All this leads to the creation of imaginary naturalistic scenarios, drawn directly from the artist's perception, which transcend reality to enter a surreal dimension. This result is achieved through the entirely subjective interpretation of color, whose dense application results in a full-bodied and dynamic blend of predominantly warm or fluorescent hues.

Born in 1933 in Moline di Bedonia, Giovanni Ferrari, due to his slight appearance, was soon commonly called "Chicco." After moving to Milan, he frequented the Brera art scene as a painting salesman, but soon began reproducing some of them. This marked the beginning of a period of numerous exhibitions, held in Italy, France, Switzerland, and Germany. He was immediately appreciated in Italy too, and the tourism promoter Camillo Delmaestro described him as the "Taro Painter."

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