The urban landscape is one of the obsessions of many modern and contemporary painters. After all, the poetics of modernity arises precisely when Baudelaire meanders around the 19th century Paris and describes its developing contradictions, whereas his coeval Pissarro portrays it as frantic and colourful. In the 20th century, the flânerie becomes a genre practised by writers and artists: Rilke in Paris again and Boccioni in Milan with his “The city rises” are the avant-gardists who celebrate the only available visual horizon. And, in fact, nature only exists in the arts as mere refuge for the nostalgic.
Also Antonio Sannino, as contemporary artists, surrenders to the charms of the urban landscape. He is a painter with a strong classical background, who has been painting metropolises " in addition to wonderful aerial views of the sea (an almost abstract perspective, far from the traditional landscape painters as Guccione) - for several years, especially sparkling views of New York at dusk or at night, which looks shimmering when it is reflected in the glass windows or coloured lights; the buildings portrayed in messy perspectives seem to be in motion, and also the portions of the sky are the result of a vision rather than a mere reproduction
Furthermore, the newly created technique allows the Neapolitan artist a pop-ish flatness: the use of a resin capable to vitrify the oil colors laid on an aluminium medium which results into a thin and smooth surface which enhances the depth of the composition. Sannino creates a “landscape equivalent”, a sort of no-landscape by which the artist does not want to represent reality any more, but he hints at it by getting its strongest expression, which often is crowded and compromised by the architecture; an even more deeply rooted feeling in this exhibition called “Only love”, where the vivid spiritual message becomes an integral part to the landscape, as if it was a subliminal contraindication vis-à-vis a merely iconographic reading of the work, in which a sense of loss prevails and the absence of the human traces is clearly expressed: in this way, the outsider observer become the protagonist of the painting, re-adapting lines as landscape, made alive by his feelings. Everything generates love, and the world itself wouldn’t exist without our lovely eye.
What the informal has never stopped its contiguity with the figuration is now also shown by the series of landscapes by Antonio Sannino. The material, the pictorial drawing are unequivocal and allude to the informal language. But there’s the nostalgia of those colors that form wherever it appears as a field of flowers, landscape at sunset, shadows on the hills, fjords rippling sea, in an irreducible sentiment of nature. Not by chance Francesco Arcangeli called “his” recent informal naturalists. Almost half a century this vision Sannino appears exhausted. Neither proves by exhausted elegance and well recognized, Anselm Kiefer, and between the Italians Silvio La Casella. It may be that these experiences have given Sannino, but it is certain that his instinct is primary and that he considers his original experience. A pure color, warm, without the doubt’s torment. Chromatic ecstasy, diving into the landscape seem to be a prerogative of a search is not compromised, guided by an instinct of painting. Happy the sign, happy the color. It ‘s head of euphoria, rational, which takes away the instinct. It’s ‘freedom’ and order of the vision, to test the resistance of the paint that is not available to be consumed in a journey to the end of the night.
Strip the city of objects and people to restore value to the urban space in all its fantastic light: Sannino’s what he wanted to represent in the exposure of the Vittoriano Rome. That nature has given way to roads, streets, buildings or bridges is only a transposition of colors, materials and artistic gestures. Not surprisingly, the magnificent presence of water dominates the eye and balances the imaginary hustle and bustle. It’s true that the artist’s intention, successful, the complaint is not harsh and alarming, but the attempt to restore the beauty and make it come right into our lives. The works in a large size helps the course of the exhibition and welcomes the viewer to discover full and empty enchanted. A broader vision of phagocyte forms of popular architectures, such as the Empire State Building in New York, the obelisk of the Piazza del Popolo in Rome or the portal of Palazzo Carafa in Naples, leaving more and see the layout of the main roads, to overcome the discomfort of large cities and individual possession of his enjoying the living space. In the plot of pictorial Sannino is the magic of time through art. Art goes where it wants to go, but he always feels his soul.
For years the Vittoriano in Rome is engaged to the promotion of artistic talents of our country and in this current is included the work of Antonio Sannino. The views of the three cities has chosen as subject: New York, Rome and Naples, surging to the metaphors of existence in which everyone has fallen almost without realizing it. Fast strokes, darting lines of color, build up urban landscapes devoid of human presence, “UNDRESSED” infact, naked, in their universal everyday life, stripped off by cars, pedestrians, objects, bus, to rise to an absolute global dimension, in which the structure of the work is minimal and becomes “essential”. Is a solar and shady art at the same time soaked at times the smell of the sea, sometimes the smell of the city. Just the artist exclaim, “I paint what I breathe, I start with a dream-like vision of the element of nature that I would like to represent, the color is suggested me by a visual excitement. ” A persistent and constant feeling of nature pervades each canvas. The look of Sannino caress the air, earth, water, fire and his brush extrapolates the natural elements enriched them in a dream vision. The artist likes to fix portions of waters that caress the stones or sinking in the depths, where the horizon is entirely intimate, almost spiritual. Transparencies that itself Sannino writes, gives to the work a sense of purity extremely vital, leaving in the spectator’s eyeses a mirror of life untouched, almost a tribute to the mediterranean roots of the artist.