“Painting is silent poetry”

The human being is the absolute protagonist of the current research of Antonietta Corsini, an artist who has chosen to investigate the – often impervious – paths of the figurative, interpreting with intense sensitivity the data that her personal reality offers her. An intimate research, therefore, not only because the subjects portrayed belong mainly to the painter’s daily life, to that privileged observatory represented by her domestic affections, but also because the spectator himself is “invited” to establish a silent dialogue with faces that, unveiling before their own eyes, they gradually become ever closer and more familiar presences, almost – it may be said – of unknown tutelary deities. The delicacy of the brushstroke and the use of decorative textures that peacefully “invade” bodies and faces, creating a sort of second skin, they are also elements that distinguish these “Patterned Portraits”: motifs that, by interrupting the monotony of reality, offer new interpretative ideas. The same arabesques that tattoo the figures (especially flowers freely interpreted from Renaissance designs) often return, made in different techniques, even in the backgrounds of the paintings: this underlines the desire, on the part of the artist, to give her characters a different chance , to create for them another dimension in which to move and act. It is the glazes, the superimpositions of thin layers of color that also define images that reveal the constant “ancient” artistic root of the painter who, starting from a thorough knowledge of the techniques of the past, summarizes the meticulous procedures learned in the workshop, in a pictorial action that finds its incisiveness not in adding itself, but in removing itself, not in showing, but in slowly revealing the strength of its delicacy. An anti-rhetorical painting that, in impetus and tumult, prefers withdrawal, concentration on the rendering of emotions in all their subtle nuances, the narration of human concreteness filtered in the light of a variegated inner world. A narrative that continues, finally, also in the choice of supports: not only canvases and wooden panels but also triptychs, which traditionally belong to sacred art, and want to ennoble human “matter”, transforming the characters described into real contemporary icons . It is therefore in these fragments of suspended reality that all the modernity of Antonietta Corsini’s painting is revealed, because life germinates there, in those figures with diaphanous yet incisive features, whose identity is not important to know; in those suspended gazes that are eager to reveal the metaphors imprinted in their eyes.