Julian of Helena - The Winner

The work's iconography has an ironic, grotesque quality, likely with some allegorical and satirical connections. The language used has strong connections to the German New Objectivity artistic movement. It features the same simplified and illusory interpretation of a realism based on a marked plasticity. We find the same cynical nature of painters like George Grosz and Otto Dix in lashing out at their own society with lucid irony.

The painting showcases the distinctive features of Giuliano D'Elena's objective style. Like the German masters, his painting emphasizes the plasticity of his subjects, emphasizing their features and facial features. His depiction is caricatural, driven by an ironic taste for the grotesque. This flair for excess also extends to the use of bright, almost commercial-like hues. Compositionally, D'Elena's eclecticism emerges through his choice of unusual photographic angles and sophisticated framing.

Giuliano D'Elena was born in Taviano in 1947. He holds a degree in Pedagogy and Philosophy and has always combined his work as a painter with that of a writer and theorist. Among his various speculative works are: "Art is Mutable but Not Evolvable," "God is Not Perfect," "Faith, Strength, and Poetry" (May 1995), and "The Game-Yoke of Reality" (February 1996). His most complex work is undoubtedly "The Vocabulary of God," published during the Jubilee Year 2000. He made his artistic debut in 1966 with a set design for Giulio Cesare at the Tito Schipa Theater. He is the founder of the Normalism movement in painting.

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