Francesco Messina - Dancers

Francesco Messina's lithography questions the human figure and its poses. In this sense, the figure of the dancer becomes a fundamental point for its representation and definition. Representation in lithography is an expression of a naturalistic reality that approaches all the technical and aesthetic concepts inherent in them. Through lithography, the limited-edition graphic technique, the artist enhances the drawing style. There are various types of graphic art: woodcut, aquatint, etching, silkscreen, and many others, such as lithography. All these techniques are not simple prints, but graphic art born from the direct intervention of the artist's hand. The word lithography derives from the Greek and literally means "writing on stone." The technique exploits the mutual repulsion between aqueous and greasy materials. The artist, on a specially prepared stone, begins to trace a design with a greasy pen. When ink is applied to the stone, the watery parts of the stone, used for the initial treatment, repel the ink, which settles only on the drawing. When pressed, the paper absorbs only the ink previously applied to the drawing. Precisely because this technique offers the painter great freedom, it is the closest to a real drawing. Francesco Messina, therefore, through the skillful use of human representation, interprets the movement of ballerinas with this pleasing, multi-colored graphic. The artist's skill in drawing is evident, depicting the study of the female body's movement with bold, orderly strokes. He models soft, delicate forms within the paper that envelop the depicted bodies. Francesco Messina was born in Linguaglossa in 1900 and passed away in Milan in 1995. He was primarily a sculptor. He created important Italian monuments, such as the Stations of the Cross in San Giovanni Rotondo; the RAI Horse; and the Monument to Pius XII in St. Peter's Basilica. His works are held in numerous museums both in Italy and abroad. Critics compare him to Manzù, Sassu, and Marini for his exploration of the human figure, recontextualized according to a contemporary sensibility.

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