Antonietta Corsini was born in Rimini, where she lives and works. Graduated in Painting at the Academy of Fine Arts in Bologna, she began to exhibit her works from the ’90s. Since her first solo and group exhibitions, the artist creates essential and evocative images that deal with the themes of family affections, everyday life and memory in a careful and sensitive way.
In the 90s she created a series of Mothers that celebrate the theme of motherhood, female generativity and the unique and sacred relationship that binds mother and child.
Specialist in ancient painting techniques, she collaborated exclusively from 1999 to 2004 with the Vatican Museums Editions for the reproduction of some masterpieces kept in the Vatican Pinacoteca.
Corsini thus began to prefer techniques from a distant past, focusing on the research and recovery of procedures derived from ancient treatises, with the aim of evoking suggestive atmospheres and obtaining unique pictorial effects. In particular, the works on wood and parchment take up the use of egg tempera on a golden background according to the dictates of tradition.
Since 2008 she has experimented in sacred art through works of religious subjects and artistic and decorative interventions in modern buildings of worship that are characterized by the vitality and topicality of the Christian message, interpreted by the artist in the light of her profound spirituality.
Parallel to her personal activity, since 2006 she has held courses in painting techniques of the Rimini School of the ‘300 at the Rimini Museum and carries out educational workshops in various schools, as well as training opportunities for teachers of artistic disciplines. The museum experience also inspires the research of the author who, through a subtle conceptual operation, begins to transform her subjects, mostly portraits, into contemporary “classic” icons. The museum is therefore not configured for the artist only as a place of contemplation and knowledge, but also a source of creative inspiration thanks to the ever-current lessons of the great masters of the past.
Today Corsini is engaged in an increasingly in-depth investigation of the invisible that is hidden in the visible, through the use of expressive brushstrokes and superimpositions of bright and transparent color, in order to recreate a new dimension evoked by rarefied and spiritual atmospheres. Hence, the private intimate sphere becomes universal and the representation of everything that the artist loves – dear faces and presences that accompany her in everyday life – acquires an “other” meaning while the narration, from being personal, becomes everyone’s. The latest works, inspired by the tradition of the great English watercolor painters, focus on the theme of love for nature and the desire to grasp the extraordinary hidden in the ordinary with a look full of amazement.
During and after the lockdown she organizes online ateliers of various pictorial techniques for individuals, schools and associations, both in Italy and in the United States, supporting them with museum workshops and an intense didactic activity for schools of all levels.
The works of Antonietta Corsini are kept in public and private spaces in Italy and abroad.
“At the age of eight I received a beautiful box of wax colours as a gift and it was love at first sight: from that moment on I started to get appassionate about art. I also remember that my father, who had a good hand, one day, when I was ten, explained me how to draw the drapery of the garments. So I started to deepen the draving more and more, so much that in the middle school the art teacher noticing my inclination encouraged me to continue and therefore to choose the Liceo Artistico of Rimini. After that I attended the Accademy of Fine Arts in Bologna where I graduated with a tesis on the artist Vittorio D’Augusta.
The old painting techniques were the next step: I began to study in detail the ancient painting treatises, primarily Cennino Cennini and other sources from the past. Exsperimentation and interpretation of the works by the great masters led me to be chosen, at the end of the 90s, by the Vatican Museums to make copies of some masterpieces of the XIV century preserved in the Art Gallery (Beato Angelico, Vittore e Carlo Crivelli, Raffaello..): a ten-year collaboration that has given me immense satisfaction.
The workshops that I have been holding at the Museum of Rimini since 2007 are the result of my experience in old painting techniques, an activity that I alternate with painting exhibitions, private commissions and artistic works in numerous churches in the area. I also had the honor of meeting Pope Benedetto XVI to whom I personally delivered a portrait mixed media on canvas: being embraced by his gaze was a very important moment in my life.
Since I was a child I knew that I would become a painter and the choices I made they all went towards this desire. Guided by the daimon of painting over the years has shaped my passion, deeply loving waht I do, wheather it is my personal artistic research or teaching, activity, thanks to which I have the privilege of transmitting to my students the essence of what I have learned also how to face the fear that can block creativity: for fear of confrontation or for lack of adequate knowledge we create our own limits and we lose the opportunity to be in contact with beauty.
This is why in my logo I have chosen to depict two swallows that dominate my name: because I wish my students to be free to take flight. First, however, it is necessary to possess the adequate bases and the only way is the one that passes through the knowlwdge of the tools and techniques. Infact, without these “roots”, one can hardly express oneself and one never reaches a true expressive autonomy.
In the workshop that I carry out I often accompany teenagers who are in situation of scholastic difficulty: several times I have witnessed how creative practice ignites spark in them to become appassionate about Art and therefore improve also in other shool subjects. A goal that comes from my desire to truly meet every new student to undestand personality by adapting thy method from time to time: looking at the person in his entirely cancels barriers, clears comparisons and leads us a mutual growth.
Paradoxically, pandemic made me undestand the educational value of art: must not remain relegated to a museum but meet anyone who wants to welcome beauty into their life.
This is what happens to me every time I introduce my studends to the masterpieces present in the rooms of a Museum: I enter into a silent and ecstatic dialogue with the artists who “speack” to me and keep me company. My task is precisely to enter into this dialogue that allows me to see the works with new eyes, falling in love with them as if it were the first. And to those who listen to me I wish to convey this feeling, so that they can allow themselves to be attracted and thus enrich their life.
I can not think of myself as a painter if I do not also consider the experience of motherhood: it not only allowed me to create but was also a source of great inspiration. The faces of my loved ones have long been the favourite subjects of my works: little daily stories, fragments of my life that on canvas assumed a universal valence.
Today, alongside oil painting and egg tempera, my research has turned to the enormous expressive potential of watercolour, of wich I am studying the technique in depth. The starting point is always the observation of what sorrounds me: like Leonardo da Vinci who looked into reality to get in tune with it and get to know it. So too I believe it is fundamental to avoid schematism in order to enter into a dialectical relationship with reality: after all we all related and nature always remains the first teacher. I love to experiment and create: every blank canvas is a new beginning and my heart is seized by amazement and a deep sense of gratitude towards life and the dear faces who accompany my journey. The people I am in tune with, a precious gift also for my artistic activity; and the great masters who inspired me and who continue to hold my hand. At the beginning there were the painters of the Thirteenth century, with their mystic; now I feel close to the lyricisme of the painter Georgia O’Keeffe, to William Turner, the “painter of light”, to the naturalism John Constable. Contemplating the works of the latter, his magnificent English skies and verdant landscapes, it is as if I felt projected into the present of those places, while the artisti paints them right in front of me. Even if different from my style, Mark Rothko is another reference model: he has been able to create unique atmospheres of colour and light that often inspire me. So when I admire the works of these great artists, they come to life and “speak” to me. I listen to their voice and I become the medium that conveys the message of beauty and passes on the legacy. This is why my poetry is not static, but it is accompanied by many artists who are also very different: it is af if all of a sudden they reveal themselves and tell me: “Right now you need me”.
Art itself continues to surprise and amaze me, just like when I was a child: and it is a circle that closes in anticipation of the next encounter with the beautiful, in a scenerio in which the artwork is the plot through which a thruth is told. So I get involved in the love that I put into it, carried away by passion and slowly the project turns into something unpredictable: a work that reveals myself and each of us”.