Lamps that represent birds’ nests, unfurled sails that made even Vittorio Sgarbi fall in love with them, beds – sculptures that will lead you to the most incredible dreams and other precious, exclusive objects for the home. And once more it is Agostino De Romanis to astound us and turn our homes into pieces of art and exclusive places for unexpected travels.
The artist Agostino De Romanis was born in Velletri (Rome) and is an exponent of Pittura Colta (Cultured Painting), a post-modernist movement founded in the 1980s by the critic Italo Mussa. De Romanis knows how to bring to life fairytale images and legendary places with incredibly unique colours. It is an incredibly long story which began in the 1970s, firstly as a set designer and then as a painter, which encloses the search for deeper freedom, the freedom of the soul. In the beginning his works had dark tones of greys and blacks with had the intention of conveying the feeling of those years. Amongst the works at that time was the representation of Torquato Tasso’s Gerusalemme Liberata (Jerusalem Freed) which was summarized in 20 marvellous and disturbing paintings. Then came the first trip to Indonesia which transformed his feeling and his art became an infinite palette of highly vivid colours which are an expression of life, joy and lightness until it reached transparency and truly extraordinary plays of colours. It was a path that made critics and the world’s powerful people fall in love, dazzled by the nature’s mystic greens and the iridescent colours of the sky and the sea which at times become light, almost transparent, in their floating essence. These are fantasies that evolve and then they intertwine between representations of “air, water, earth and fire”, the symbolism of numbers, the paths of escape, the Sacred and the encounter with the Orient. These evolve techniques without comparison, the results of research, tests and unpublished experiments. In 2005 Vittorio Sgarbi wrote “Substantially, for De Romanis the emersion in the Orient is also a technical choice, an attempt to appropriate sensibility in the rapport with things and also materials which are typically Oriental, so dense with colour are the lacquers of these surfaces. This is possibly the most interesting aspect of De Romanis’ research in this phase, a research in which technique serves the spirit.”
The constant backgrund is love, love in its widest sense, from femininity to nature, from God’s absolute love which resides in man’s soul but which he often cannot find. Agostino De Romanis’ art is told in only one word: emotion.