FRANCESCA CAPITINI

It’s time to reconsider the entire work of the artist, starting from the graphics and the drawing, up to the frescoes conducted by that composite essentiality that allowed them to conquer spaces and to understand the spirit of the subjects created. Everything takes shape and tends to transfigure on the unconscious level to such an extent that with skillful “extractive” effort we can get closer to the real perceptible of some of his compositions. The spirit with which contemporary criticism should review his works could be that of one who is not content to celebrate the superficial, but tries to enter into it to understand the invisible too. For Francesca, the drawing is often an ideational and design process of frescoes, a development that can have several phases, from the rapid touch that bestows the first idea of ​​the work to more detailed studies of details. Sometimes it is an absolute collection of notes, many studies that document his experiences, his research.

There is in the frescoes of the girl from Assisi a desire to express a feeling that urges her from within in a constant introspection to try to discover herself. It is starting from his life that we can realize his genuineness of his conceiving and discovering art as communication, of the consistency of remaining indifferent to the call of the sirens of fashion in the historical artistic of certain periods. Francesca has always been on her way convinced of what she was doing, certain that her serious and committed work would have given positive results. La Capitini was born in Assisi, in that land blessed by God that gave birth to St. Francis and St. Clare of which he began to follow the trail in his work. The spirituality that pervades the environment in which she grows can only make her a sensitive person attentive to the most important works, which are then found in most of her great artistic production.

Since she was a child she loves to draw, paying particular attention to free creatures. Performed his academic studies of art and restoration in Florence, in his early twenties he returned to Spello where he opened his first study. It thus approaches all the Saints and Blessed by discovering them in the old frescoes to be restored in the small churches bringing them back to their former splendor. He thoroughly studies their life and soon they will have no more secrets for her. And the Madonnas, her splendid Madonnas, and with the Child, who in a solitary way, reach a particular beauty so as to attract the interest of the art critic. He painted a scene of Franciscan flavor in the heart of the historic Basilica of Assisi (a young girl to whom the Franciscan friars allowed to perform a mural fresco of such importance). Since then she has made countless frescoes on the wall and even on the table, the fame that deserves the young artist has grown a hundredfold, her fame is decreed by critics. But Francesca does not lose her simplicity that has always distinguished her. She will be the painter of the Saints and the Blessed, abandoning that part of profane art made of splendid female and male nudes. His frescoes will be important, in search of the highest spirituality.

In young paintings there was not a veil that was not devoid of eros that the young painter entrusted to an animated and impulsive gestures, returning to the neuralgic areas otherwise called structural images with beams of signs that ended up encroaching on each other, penetrating each other in a soft embrace ending in the physical dimension of the represented table. The action assumed an organic pulsation, an irrepressible vitality.

Francesca Capitini’s project is the natural awareness of her life, her personality, her relationship with painting, her way of doing art and communication. Perhaps the greatness of this artist has not been fully celebrated in Italy as much as in other countries, but one thing is certain, Capitini is not only great for its pictorial graphics, its frescoes and the numerous works performed in many churches are the most valid testimony.

Gilberto Madioni

 

 

 

PAINTING TECHNIQUES

The atmosphere of each painting has a slow breath composed of colored textures. The subjects are inserted in an environment in which the polychrome lights are harmonized, which seem emanations of the protagonist images.

It’s to be believed that images are formed in the reader’s attention and come from the drift of time. Drawing is often essential, it is limited to the main reasons and yet it says everything.

Certain pictorial works bear fragments of writing and figures with faces, which emerge with light almost cinerea on a breath of green or an orange veil. These paintings, made in fresco or on plaster, have ancient lights, but also new ones, are those of truth and emotions.