CRITICISM

…There are several works, especially those created after 1975, in which the sensation of being before the fragments of the world’s big shipwreck, is almost physical. These fragments, gradually acquiring a definite, architectonical shape from their former lifeless passiveness, even reassemble themselves in distinct figures as if caught among gestations and sutures whose precariousness or unceirtanty is underlined by incidents, divarications, overlappings, sudden meetings and clashes, self-moved outlines in inexhaustible presentations.

– Carlo Ludovico Ragghianti –

…Things happen in a Vaccarone painting or drawing, but it’s not often obvious what’s exactly happening, or how, or why. There is an eventfulness to Vaccarone’s pictures that is bigger than the events themselves; he has used art – his vision, his skill – to make universal the experience of events and conditions even as he makes such experience surprising and often unpredictable…

– Peter Frank –

On my opinion, this is due to the fact that each aspect and suggestion from the external world, once filtered and transfigured by the artist’s sensitiveness and fancy, becomes part of his own personal story. It also reproduces his inner travail which, once it has drawed the terms belonging to a conventional lexicon of his own from the deepness of his soul, gives shape and fits it to the various circumstances and meaningful occasions.

– Enzo Carli –

…for those belonging to his same generation – he was born in 1940 – painting is a sort of experimentation exercise, an avant-garde practice, a movable, flowing field intersecting both coeval styles and the many outer-world cultural inspirations, as art is above all the air one breathes. Last, but not least, there is no aesthetics without ethics…

– Luca Beatrice –

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PAINTING

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WOOD SCULPTURES

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DRAWINGS MADE AT SUPREMA

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SCULPTURES IN MARBLE AND BRONZE

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BIOGRAFIA

Francesco Vaccarone è nato alla Spezia il 4 ottobre 1940.
Inizia a dipingere giovanissimo sotto la guida di G.U.Caselli e di G.Bellani dedicandosi nel contempo a studi classici e filosofici.
Dal 1957 al 1964 presenta le sue prime mostre personali e prende parte a numerose mostre collettive in molte città italiane. Il linguaggio creativo di questo suo primo periodo è figurativo con molte attenzioni all’espressionismo tedesco.
Dal 1965 al 1969 ha un secondo studio a Genova ed è impegnato in ricerche sui linguaggi visivi in stretto contatto con poeti(Gruppo 63) ed artisti dell’avanguardia sperimentale italiana(Trerosso di Genova,’70 di Firenze, LineaSud di Napoli) con cui dà vita a convegni e mostre.
Nel 1970 sposta il secondo studio a Roma dove perfeziona alla stamperia Il Cigno le sue conoscenze delle tecniche calcografiche realizzando moltissime incisioni. Frequenta artisti tra cui Marini, Gentilini, Raphael Mafai, Zancanaro, Guttuso, Fieschi.
Nel 1973 viene pubblicata la prima monografia dedicata al suo lavoro,con prefazione dello storico dell’arte Enzo Carli e del poeta Dino Carlesi, a cura della Galleria d’Arte Macchi di Pisa.
Gli vengono allestite numerose mostre in Italia ed in Svizzera e gli vengono assegnati prestigiosi riconoscimenti.

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