Giorgio Di Volo - Untitled

Flowers as an independent subject began to appear in still lifes, a genre that emerged in the early 17th century. Subsequently, painters, especially the Impressionists, increasingly focused on the floral world, as an extraordinary opportunity to capture vibrant colors and light. Thus, flowers were depicted not only in vases, but also immersed in their natural landscape. While initially a pretext for painters to attempt a photographic reproduction of reality, with contemporary art, the subject of flowers also became a way of interpreting reality.

Giorgio Di Volo's painting is characterized by an artistic language that takes Impressionism to its extreme, seeking to evoke images through a lyricism of memory. Giorgio Di Volo is a true master of color, capable of infusing life into his subjects with his brushstrokes. His touch is cursive, yet at the same time rich with vibrations and existential thrills. In this sense, Giorgio Di Volo's evolution of Impressionist technique should be interpreted as the poetry of life. Each brushstroke registers chromatic and luminous vibrations, simultaneously infusing an unstoppable synthesis of vital energy.

Giorgio Di Volo (Camaiore 1911-Lucca 1984) grew up as an artist in 1950s Florence, in the circle of "cursed" painters known as the "Existentialists." This circle of intellectuals met regularly at the Galleria di Fiamma Vigo on Via Cavour, at the Giubbe Rosse, or at Sabatino on Via Faenza. But the Existentialists' headquarters was the San Lorenzo Central Market, from the wine merchant to 26 Rosso, where Giorgio di Volo, known as "The Professor," frequented painters such as Vinicio Berti, Rodolfo Marma, Silvio Loffredo, Zingarelli da Trieste, Pietro Annigoni, and Alfio Rapisardi.

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