Vincenzo Eulisse - The Green Tiger

Surrealist aesthetics emerged around the 1920s and encompassed all fields of artistic research. Specifically, in the visual arts, Surrealism sought to explore the human subconscious and translate it into artwork through a mechanical writing process based on dream analysis. Consequently, Surrealist artworks propose the representation of a dreamlike dimension, completely dissociated from reality. Vincenzo Eulisse's Surrealism is a heterogeneous blend of elements, both abstract and figurative, in the creation of an original artistic language. In his works, he often begins with animal figures, reworking and distorting sensory data in a vigorously expressive manner.

The work takes the viewer on a journey through the artist's perception, which is expressed on the canvas through a vortex of images and compositional themes. The surface of the painting is occupied by the composition of a myriad of themes and subjects born from the artist's creativity. Vincenzo Eulisse's Surrealism is actually distinguished by the presence of deformed images, whereby the subjects elongate or swell, taking on monstrous features, or almost imploding into biomorphic organisms, as in this painting. Eulisse's deformation and biomorphism undoubtedly recall the master of Surrealism, Salvador Dalí, but unlike the Catalan painter, Eulisse eschews an objective and concrete pictorial form, instead favoring a synthetic, almost abstract approach. In this case, the reference is to post-Cubism, where the combination of accentuated synthesis and decomposition of the subject leads to the surreal results found in the work of Pablo Picasso from Guernica onward. Thus, in Eulisse too, space is decontextualized, the pictorial sign is gestural and summary in some parts, the entire representation is agitated.

Vincenzo Eulisse was born in Venice in 1936. He attracted critical attention with his first solo exhibition in 1958 at the Galleria Bevilacqua la Masa. His early paintings are realistic, depicting the world of workers and fishermen. In the late 1960s, he was appointed assistant to Emilio Vedova at the Sommer Kunstakademie in Salzburg. Along with Vedova, Basaglia, Chinello, Federici, Gianquinto, Nono, Perusini, and Pizzicato, he participated in the great cultural debate that animated Venice at that time, revealing himself as an eclectic, dynamically evolving, and socially engaged painter. This decade also saw his participation in the prestigious Venice International Art Biennale twice (1972 and 1976). With the Venice-Brera artistic bridge, Eulisse began an artistic partnership with Milanese artists Marzulli, Merisi, Forgioli, Petrus, Valieri, and Ruggero Savinio. Since 1978 he has been a teacher at the prestigious Academy of Fine Arts in Urbino, where he will conclude his academic career after 25 years.

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