Vito Brattoli - Untitled

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the depicted subject, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation. The artist Vito Brattoli stands out in his pictorial production for his candid realism and an artistic approach closely connected to everyday life. For this reason, his favorite subjects are scenes from everyday life or portraits of humble and popular figures.

The language developed by artist Vito Brattoli can be described as a harmonious blend of candid realism and a remarkable attention to formal values. Indeed, this painter remains constantly in touch with reality, depicting everyday life and the subjects of his portraits in a simple and direct manner. At the same time, however, his artistic approach tends to emphasize volume while avoiding pictorial excess, and his subjects are given great plasticity within the space of the work. All this leads to a certain illusory quality in Brattoli's work, and thus his paintings, though thoroughly realistic, seem immersed in a silent and timeless atmosphere, verging on the metaphysical.

Vito Brattoli was born in Molfetta in 1950. He studied art at the State Art Institute and later graduated in sculpture from the Academy of Fine Arts in Bari. Since 1980, he has lived and worked in Milan, where he collaborates with leading artists and contemporary art galleries. He teaches Figure and Modeled Ornamentation at the Caravaggio Art School in Milan.

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