Critics / Press

  • World Art Championships

    Lorenzo Chinnici captures in a single canvas what is most representative of the Sicilian spirit. A fisherman mows nets on his boat. Here are highlighted the parts of the body that indicate more the work activity of man, for this feet and hands are of greater proportions than the rest of the body. The boat becomes a further inseparable garment that the subject portrayed carries on him. The whole island finds its voice in Anima Sicula and its bright colors, in that blue that brings man back to the sea, to the earth and to the sun with red and yellow.

    Salvo Nugnes

  • AlmArte

    Master is reverence,
    son of the inspiration,
    of life before anything else,
    touch the canvas and the essence takes shape.
    Swish of bristles and love,
    the eyes dazzle between the beams of light
    of red and earth is escape from the ego,
    sweats and passions the gift of God.
    inside the soul is art,
    genius and honesty, rare and innate,
    fragile in the world you spin whirling with emotions,
    you equal, you worry and bloom your dreams,
    of jobs, of toil, of your beloved sea.
    Naked backs protect you,
    deny the looks and scrutinize your creatures,
    your dowry bewitches,
    Pindaric flight cancels you from pain
    and immediately art flows like an impetuous river.
    Lorenzo, the greatest honor is having discovered you,
    to have scrutinized you,
    troubled sleep with inspired verses.

    "To Lorenzo Chinnici, to the great man and
      artist, to the one who inspired my verses "

    Vincenzo CalĂ­

  • Chinnici - His Roots

    "Narrative and at the same time nostalgic painting, in contrast with the multiform identity of contemporary art.

    The world that tells and portrays Lorenzo Chinnici is the South: Sicily as fatigue, memory and, above all, dimension of the soul in a "suspended time".

    Figures of women and men animate his paintings where the everyday life of work, the manual one, which makes the perception of pictorial space dynamic.

    And there seems to be no hope, but only the possibility of observing the flow of time that inexorably all encompasses.

    The first witness of this flow is the artist himself who immortalizes with his gaze Sicily, his homeland, with a pictorial narrative, in which we want to give weight to a personal memory, to the "roots" of its history so that this become almost a warning to the observers of his works.

    One can not look to the future without the awareness of one's roots. This is perhaps the strongest message that comes out of the shapes and colors of these six works by Lorenzo Chinnici ".

    Nilla Zaira D'Urso

  • The artist-Vate and the last work.

    According to the Greek myth, Narcissus was a handsome young man from Tespi, who fell in love with the nymph Eco. Eco had been deprived of the word by Hera, the wife of Zeus, and could only repeat the last syllables of the words of others. Unable to express his love, Eco was rejected by Narciso and died of a broken heart. The gods then punished Narciso for the hardness with which he had treated Eco making him fall in love with his image. The soothsayer Tiresias had predicted that Narcissus would cease to live the moment he saw himself. One day, bending over the clear waters of a spring, he caught his reflection in the water. Narcissus fell passionately in love with that image and no longer wanted to leave the place. He died so languorous and turned into a narcissus, the flower that grows at the edges of the sources.
    The narcissist is a person who cares only about himself, excluding all others. He becomes his own world and believes he is the whole world.
    The narcissists present various combinations of intense ambition, grandiose fantasies, feelings of inferiority and excessive dependence on the admiration and approval of others. Chronic uncertainty and self-dissatisfaction are also typical; cruelty and exploitation, conscious or not, towards others. The narcissists are absorbed by their image, they are not able to distinguish between the image of who they believe to be and the image of who they actually are; the narcissist identifies with the idealized image, the image of himself is so lost. The difference between himself and his image could be compared to that between a person and his reflection in the mirror; one understands then why, the artist, narcissistic in himself, sees in his work his image. What happens in the body influences thought and behavior as what happens in the psyche: we can therefore say with a certain degree of certainty that, at the end of his life, the artist creates works that are tragically evolved, almost able to grasp the essence of all that has been his life and his working with a sort of magical and evolved realism, a sort of vision, certainly personal, but absolutely perturbing, as it deals with the dazzling reality: death.
    The sense of self depends on the perception of the life of the body. Perception is a function of the mind and creates images. Narcissists do not deny having a body, but consider the body as an instrument of the mind, subject to their will. Although the body can be an efficient tool, functional as a machine or striking for the statuesque appearance it lacks however of "life". And it is precisely from the sense of one's being alive that the experience of the self is born. The narcissist's short circuit lies precisely in the denial of feelings, he is a person whose behavior is not motivated by feelings. We must observe narcissism as an organization in terms of image and not emotion. The antithesis between the self, which is a mental organization, and the self, which is a bodily and sensitive entity, exists in all adults, or at least in anyone who has developed a certain awareness, which derives from the ability to form an image of oneself; since this is a function of the ego, narcissism must be considered a disorder of ego development.

    The artist's narcissism is evident in the tendency to be seductive and to measure one's own value on the basis of the ability to attract, with the ostentation of a great self-assurance, a sense of superiority and an exaggerated dignity. Artists are not only a little better than others, they are the best! They are out in the world of feelings and do not know how to relate to other people in a real, human. The artists become their work, which is the image in which Narcissus was mirrored and died there; in the same way the work becomes the superiority that distinguishes the artist from the mass; there is in fact in the human psyche, a long duration of certain behaviors due also to the surprising stability of the expectations of an uncertain public to cross the borders between art and magic, which is the artist's topos.
    The reaction of society to the artist is conditioned by the talent and personal characteristics of the latter, narcissistic precisely, this reaction influences the artist himself. The intuition of an autonomous value of art as an independent dimension of creative work, art for art, makes explicit a desire to know the person of the artist. One could speak, without exaggeration, of a "secret life of the hero".
    The artist-prophet can be considered, from the greek anekdoton "unprecedented", the one who sees and, somehow, expected, what will be, his foresight is considered a kind of magic, despite the secular modernity. There is an indissoluble link between modern thought and poetic myth.
    Central theme in all the debates between art and artist, an artist's urgency to give expression to their creative talent and the power to magnetically attract the attention of others.
    Goethe- The creative power of the mind forms the finite of the indefinite.
    Luca Signorelli is, beyond any reasonable doubt, the great master of our artist Lorenzo Chinnici, he lived between the first and the second Italian renaissance and as such he does not ask his works for an autonomous portrait, but a place in the "stories" that , in the form of a fresco, and I think of the magnificence of the Cathedral of Orvieto, which with its image becomes part of the monument and this awareness aims to be admired. The apocalyptic theme of Renaissance frescoes, like that of the last human days, seems difficult to explain except in direct connection with the disturbance of consciences caused, as well as horoscopes and catastrophic foreboding, which were multiplying, here and then, also due to of the approaching of the second half of the second millennium, from the Florentine events for which Savonarola was the most illuminating example. The ignominious bodies of Signorelli are exalted with the energy that preludes the epic celebration that, the illness of our artist will bring to the magnificence of the nude portraits in the last period of Michelangelo. That is, Lorenzo Chinnici starts from the purity and loveliness of the anatomy of Signorelli, to arrive in a period of semi-blindness, to the exasperation of Michelangelo's anatomy, also agonizing for philosophical-religious problems of the great master, anguish that the latter revealed only to the great confidant Vittoria Colonna. The foreground meaning of the nude is, totally in favor of classical beauty, but always attentive to the non-classical, possibly also taken in the contemporary. The exasperation of the bodies of fishermen and other workers can be traced back to the unavoidable Vitruvian aesthetic canon, rediscovered precisely in the Italian Renaissance. The nude figures of a Madonna del Signorelli at the Uffizi, served as a model to Michelangelo. It is therefore the nucleus, driven by the awareness of the "passage of the witness" to gravitate around a mythical and archetypal nucleus. The aim is to focus on a particular historical situation characterized by the onset of awareness of how the artist's action is partly removed from the domain of consciousness and then focus on the point where that awareness affects the change in vision, on the stylistic transformation that characterizes that moment of transition from the figurative arts to blindness, or anyway, from the awareness of art. The return to order is characterized by a great measure and by the rejection of natural inclinations, usefulness and the search for effect. This sobriety was motivated by the intention to drop values, reach discipline, clarity and greatness.

    For Lorenzo Chinnici art is anthropometric, man is beyond measure; it is monumental, there is in it the aspiration to magnificence and to minimize the ornamental element; but above all aware of its own greatness, solemn and joyful.
    In the moment in which the illness, or in any case the advance of senility, arrives in the work of the artist, the definition of fantasy and visionary reveals its generality more if it is not brought back decisively to the awareness of the unconscious, that is of that subversion of values, of that revolutionary overturning of the objectives of the psychological attitude: the concept of culture at the same level of life, where joint, art and instincts, include the process traced out of the ego without solid support of will without a fixed goal. For the artist ideas take on meaning of life; that the English called "the eternal snows of thought".


  • Crucifixion - Church of Santa Maria della Catena

    Painted in 2008, this scene of the Crucifixion occupies the entire large niche in the back wall of the Church; above the recess the wall continues for a good height so as to allow a crowning with two mighty angels.

    Entering the building the giant image, enclosed and surrounded by the brick arch, which includes the altar, simulating a real apse.

    This Crucifixion burns with the warmth of the Sicilian earth and with the religious inspiration that inspires it, dominated by the chromatic power of the Chinnici Master, of which it is always recognizable, even more than the signature.

    The large figures completely occupy the large surface (10 ml of width for 4.5 ml of height). The Christ in the center seems to separate the scene in two parts: on one side, to the left of the Crucifix, are the Roman soldiers, centurions with red robes, tight calf-like sandals, helmets, shields and spears, who incredulously look at the God incarnate man who he is suffering on the cross without a complaint: an act of heroism that they can’t understand, closed in the pagan ideology where the distance between God and the faithful is impassable.

    On the right, in the scene we can recognize: Giovanni, the cousin of Christ, Giuseppe d'Arimatea, Magdalena.

    The brushstrokes create, directly on the wall, the characters foreseen by the scene; their Author, in addition to the spirituality of the faith that permeates all his religious subjects, has a realistic vision of humanity that does not fail to pervade even the Gospel figures.

    In the faces of all the characters of this Crucifixion Lorenzo Chinnici has portrayed the humanity of his land, the charm, the beauty and the wild physicality that are the men of the island that so many dominations and so many ethnic blends still show today.

    But the Master in these bodies wanted to seek the truth of human life, that indicated by the angel to Adam and Eve to expel from the earthly Paradise: "You will work hard, you will give birth with pain."

    The force or weakness of the limbs of bodies that have known the harshness of the daily labor of living emerges from the figures that make up this painting.

    The expressions of the faces are those of humanity that surrounds us by living; not "ideal" portraits of saints, but portraits of men including and

    immortalized while, with sorrow, they perceive the greatness of the divine plan that the Lord has conceived for humanity, the sacrifice of the son, for our redemption. 

    Emanuela Catalano