Giorgio Vignolo - Untitled

The representations of animals in art have very ancient origins, so much so that
also appear in cave paintings from primitive times. For religious reasons
various types of animals appear in the testimonies of different civilizations of the era
ancient. It is above all in the Middle Ages, within the International Gothic style, that
the depictions of animals spread as real portraits from life, both
within works or in notebooks of drawings and sketches. The presence of the
animals as subjects in art will remain constant until the time
contemporary. In this painting the artist Mario Puopolo focuses his
Research on the figure of the horse. A noble animal, a symbol of beauty and
Harmony: The horse has been a prominent subject in the history of art on several occasions. Since the fourteenth century, its presence has always been obligatory in
battle scenes or in equestrian monuments and, for painters, it has always been
a challenge to represent it with anatomical precision and rendering
naturalistic.

Giorgio Vignolo's research is often aimed at the exaltation of plasticity.
From a formal point of view this results, first of all, in a composition
rigorous, based on a solid design structure that seeks depth. In
in this work the figures appear clearly delineated, in the consistency of the
bodies and in the volume of the objects. However, the formal exaltation sought
Vignolo does not lead to a cold and objective hyperrealism. On the contrary, his
The layout is very pictorial, dynamic with changing tones and this makes its colours more alive.
figures, vibrant with vital energies. In this way it can be said that the
Vignolo's pictorial manner is based on a great desire for realism
which, combined with a great life drawing technique, manages to
to transfer onto the canvas what the painter has before his eyes.

Giorgio Vignolo was born in Genoa and attended the Maragliano Art Institute.
with Prof. E. Massiglio; during his short stay in South America (Chile) he was
student of the master prof. J. Fossa Calderon, who knew, in these his first
pictorial experiences, create the conditions for his artistic evolution.

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