Critics / Press

  • Chinnici Painting

    The “gruppo di corrente”* around which collected the major exponents of art of the period 1938-1940, left to posterity a new pictorial reality devoid of compromise and therefore free from any restriction. This tradition nurtured the great artists Guttuso, Maccari, Migneco etc. Who were able to develop their own style of avant-garde realism.
    Lorenzo Chinnici has managed to get the most from this historic political and cultural moment. The masters style has two fronts: on the one hand his depictions of the Sicilian landscape to which he seems deeply connected and on the other the people around him as they go about their daily life, with its attendent drama, joy, and indeed boredom.
    His painting, uniform in its multicoloured drawing, therefore pleases for a number of reasons. Not only because it is a clean picture, geometrically composed within precise borders that already demonstrates an uncommon mastery of design which emphasises the subject, but also the choice and combination of colours used not only as a filler but also as an intimate part of things.
    Chinnici was born in Merí in NE Sicily in 1942. The Sicilian environment and some bitter childhood experiences influenced his early artistic output and lead to the production of paintings charged with drama which slowly changed and lightened with maturity while at the same time retaining the themes closest to his heart, that is, the Sicilian world.
    Thus he went on to create landscapes, portraits and glimpses of the life of country people, fishermen, and children with an almost imaginary realism. In doing this the artist keeping his feet firmly on the ground avoids that grave mistake which many make of offering a sterile representation of reality, not only in the illusion of making something better, but above all drawing a world apart not as a mirror but as a projector.
    With the human figures usually very well drawn, he implies a strong tension almost torment, while at the same time his landscapes seem to induce a pleasing serenity, a type of narrative which goes beyond the images and requires the participation not only of the eye but also the feelings.

    *Historical note. The youth magazine founded in 1938 as the “Current of Youth” (and suppressed by Mussolini’s censors in 1940 at which time the name had become simply “Current”), during its brief existance became the focal point for many young artists who would later achieve greatness. This grouping became known as the “gruppo di corrente” because of this association with the magazine.

    Enrico Caruso

  • The battle between Arabs and Normans

    The painting shows the well-known battle between Arabs and Normans, which took place in 1088 in the area of Milazzo and Tindari, north of Sicily. Roger I, Norman Count of Sicily, was the son of Tancred of Hauteville (Normandy 1031 – Mileto, Calabria 1101). He was leading the battle in 1060 to conquer south of Italy with his brother Robert Guiscard, with whom he shared the land of Calabria and conquered Messina, Palermo and Siracusa.
    Over the course of thirty years, until 1092, Roger I snatched Sicily from the Arabs. After his success, the Norman Count of Sicily restored the churches destroyed during the Arab domination and built a Basilian monastery, a church dedicated to St. Filippo and one dedicated to the virgin and martyr St. Lucia, properly called Lucia del Mela.
    Despite the Normans victory, the Arab culture was still strong in Sicily and merged with the Normans, which led to the formation of a peaceful and multi-ethnic society.
    The wall painting features an impressive chromatic dynamism that strongly highlights the action of the Count D’Altavilla, Robert Guiscard, on his horse bent and jibbed, wielding his saber against the Arab knight.
    The warrior's dead body lying on the ground around which the bloody battle takes place is realistic as much as the other figures. Looking at scene, it seems to perceive the clash of the irons and to hear the injured shouting and the death rattles of the warriors. It also seems to discern the dust caused by the knights or the horses and it is amazing to think that this happened in our land.
    Piazza "F.P. Fulci "recently restored, could not have a better role in terms of not only on the socio-cultural and aesthetic level but also on an educational one. With the participation of the Mayor Giuseppe Cocuzza, councilors and civil, military and religious authorities.

    G. Anania

  • The Crucifixion

    The crucifixion presented in this church to believers and non believers alike, comments Professor G. Anania, an artistic masterpiece of ten metres in length and approximately five metres in height -is born from the intense interior anguish of the artist, Renzo Chinnici, in the moment of his creative act and his reflections on the sublime sacrifice of Christ, made man in the womb of the virgin mary, to redeem humanity from sin.
    Lorenzo Chinnici in the act of his creation lights his fire and grasps the objective meaning of new content, of new forms of a painting disgorged from the depths of his soul the soul of an authentic believer. He translates in colour and form his concept of the crucifixion, allowing the observer to see with amazement, with trembling reflection.The sacred representation of Lorenzo Chinnici which springs from a deep act of faith is given not only to the faithful believers in the hope of reinforcing even more the faith of those who already possess it, but also to open, rather to throw wide open to god the doors to the heart of the agnostic and the indifferent.
    The composition of the work is divided into two distinct zones, to the right of the viewer one sees the crowd gathered on Golgota, amongst whom stands out the young John who is turning his gaze towards the sad Mary and the ancient Joseph of Arimatea with a dumbfounded expression. These are personalities of much spiritual fascination.
    To the left are depicted Roman Centurions with red tunics, with sandals and knee length boots, with banners, lances and helmets. All of whom display an attitude between menacing and perplexed. In any case they are all figures which, once seen, can never be forgotten.
    At the centre of the work is Christ crucified stoneyfaced with pain, made marblelike by the intense physical suffering, a face dominating and intensely magnetic.
    Worthy of note is the figure of Mary Magdalene who, with her long disarrayed hair is prostrate at the base of the cross in a gesture of great love.
    Lorenzo Chinnici, holds a highly respected position in the difficult world of contemporary art by virtue of a personal and incisive mastery of colour, not to mention a deep awareness of design and perspective, with the present sacred representation he leaves of himself to time a mark of no small importance, albeit with different judgments.

    G. Anania

  • S. Andrea's Church

    This artwork in all its glory differentiates itself from the previous Crucifixion painting by Lorenzo Chinnici. This is not a deliberate choice. The sufferings related to the Greek tragedies are replaced by a sequence of the artist’s hidden pain. The artist identifies himself with this masterpiece by transferring his agony for the advancement of the loss of his sight, knowing that it will lead to blindness. The theatrical portrayal of a hermetic world of this emotion unites his torment with that of Christ. The many moments of panic while painting, the anguish and hope of the artist flow and intersectsimultaneously arriving to a point of experiencing the suffering similar to that of Christ. The artist paints as though he is already blind, a pure rationalized energy, catalyzed by his unexplainable internal propulsions. A message not only for Catholics but to the world and of all religions, to those who are in suffering and to all who are looking for “the “ reason of Life. When one finds themselves in this vortex, everything seems hazy, there is a part of our soul united with hope,an uncontrollable force and energy, partially tied and softened by the artist, which moves and contrasts harmoniously. Without practically looking at the surface touched by the stroke of the brush, almost unable to see, the artist forgets all the technical forms of balance, convention and parameters of painting. The patterns begin to form from panic and rebellious energycombined with hope, coordinated with a method acquired over time by the artist. Lorenzo Chinnici asks his clients to look beyond the superficial image and try to read between the lines as their opinions are his best critics for his work.

    Paul James Smith

  • Wait of a Mistique response

    We will return to worship idols
    We will desecrate the graves to embrace our dead loved ones
    We Should
    We should have thought about that before
    We have never existed
    We have
    We should ask our sister – monkey or our mother - science
    We should ask our God Father or our christian brother
    but maybe
    If we have the strength, we should also ask ourselves.
    And maybe
    It could also respond the unique and common God
    who is inside of every of us.

    Salvatore Imbesi