Cino Cantimori - Untitled

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the female figure is an expression of this aspiration, which spans all eras and stylistic movements. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the female figure has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism. A significant portion of the portraits and genre scenes in the artistic production of Cino Cantimori, who lived in Africa for many years, are inspired by these picturesque subjects, which express a curiosity for an exotic dimension, for an ethnic and folkloristic everyday life.

Cino Cantimori's African-themed works have a highly distinctive style, in which the representation is essentially figurative, yet expresses itself in a stylistic register with strong expressionist overtones. Indeed, we can appreciate how the entire scene is depicted by exploiting the expressive potential of color. The drawn structure dissolves into a highly synthetic representation. It is therefore up to a lumpy brushstroke, dense with color and with a strong structural function, to construct the image. The painted surface transforms into a shifting impasto of dynamic chromaticism made up of warm, earthy tones or a lush green, tied to the sensations of the African experience.

Felice Cantimori, known as Cino, spent much of his life in Russi (1906-1993). He lived in Africa for a long time but returned to his native country in 1984. Throughout his career, he focused primarily on landscape painting. For a time, he was influenced by Futurism. His experience in Africa was crucial in inspiring him to fill his paintings with a warm, sunny light. Toward the end of his artistic career, he abandoned landscapes to devote himself to still lifes and flowers.

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