Francesca Capitini - Mother

It's time to reconsider the artist's entire oeuvre, from her graphic works and drawings to her frescoes, guided by that composite essentiality that allowed her to conquer spaces and understand the spirit of her subjects. Everything takes shape and tends to transfigure itself on an unconscious level, to such an extent that with a skillful "extractive" effort we can approach the perceptible reality of some of her compositions. The spirit with which contemporary critics should revisit her work might be that of someone who isn't content to celebrate the superficial, but seeks to delve deeper into it to comprehend and understand even the invisible. For Francesca, drawing is often a process of conceptualizing and designing frescoes, a development that can have multiple phases, from the rapid touch that provides the first idea of ​​the work to more precise and detailed studies of the details. Sometimes it is a mere collection of notes, many life studies that document her experiences and research. In the frescoes of the young woman from Assisi, there is a desire to express a feeling that urges her from within, a constant search for self-discovery. It is by starting from her life that we can appreciate the authenticity of her conception and discovery of art as communication, the consistency of remaining indifferent to the siren call of historical and artistic trends of certain periods. Francesca always pursued her own path, convinced of what she was doing, certain that her serious and committed work would yield positive results. Capitini was born in Assisi, in that land blessed by God, the birthplace of Saint Francis and Saint Clare, whose footsteps she began to follow in her work. The spirituality that pervades the environment in which she grew up cannot help but make her a sensitive person, attentive to the most important works, which later found their way into the majority of her extensive artistic output. Since she was a child, she has loved drawing, paying particular attention to free-spirited creatures. After completing her studies in art and restoration in Florence, in her early twenties she returned to Spello, where she opened her first studio. She thus became acquainted with all the Saints and Blesseds, discovering them in the old frescoes to be restored in small churches, restoring them to their former splendor. She studied their lives in depth, and soon they held no more secrets for her. And the Madonnas, her splendid Madonnas, both with the Child and seen alone, achieved a particular beauty, so much so that they attracted the interest of art critics. She painted a scene with a Franciscan flavor in the heart of the historic Basilica of Assisi (a young girl to whom the Franciscan friars allowed the creation of such an important mural fresco). Since then, countless frescoes have been created on walls and even on wood, the young artist's fame has multiplied a hundredfold, her notoriety has been proclaimed by the critics. But Francesca has not lost the simplicity that has always distinguished her. She would be the painter of Saints and Blesseds, abandoning the secular art of splendid female and male nudes. Her frescoes would be significant, in pursuit of the utmost spirituality. In her early paintings, a veil of eroticism was evident, which the young painter entrusted to an animated and impulsive gesture, returning to the neuralgic, or structural, areas of the image with bundles of signs that ultimately merged, interpenetrating in a soft embrace, ending up in the physical dimension of the represented panel. The action took on an organic pulse, an irrepressible vitality. Francesca Capitini's project is a natural reflection of her life, her personality, her relationship with painting, and her approach to art and communication. Perhaps the greatness of this artist has not been fully celebrated in Italy as it is in other countries, but one thing is certain: Capitini's greatness is not solely due to her graphic and pictorial skills. Her frescoes and numerous works created in numerous churches are the most compelling testimony to this. Gilberto Madioni

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