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327:. The last house was more chaotic for the desire of finding the proper light for each painting. Yet, despite his age and disorder, the work was intense. To complete a painting he took around five sessions, which meant at least two new works every week. He worked both mornings and afternoons, often devoting first energies to harder works such as the naked human figures. In the living room the walls are covered with framed paintings, while others are simply placed in the corners. It is here that he received friends and admirers. It was during this period the
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399:"The result reached by Antonio Sicurezza is the result of his research, where the responsiveness of more accurate technical means resolves the discovery of the deeper meaning of reality. Therefore, an understanding that surpasses all interpretations animates his painting, to respect it in its entirety. For this reason, in its naked flesh, the more flesh it is, the more chaste" (
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His style reaches maturity based on two fundamental elements: the physical construction of the subject, with increasing use of the spatula to distribute and overlay color, and the mention of the deliberately unfinished around the main theme. The result of all this is a subjective realism. Through the
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In the following years he devoted a greater commitment to personal and collective exhibitions, with a lack of direction, but without referring to a gallery or an agent and tied to a provincial reality. Despite this, he won several distinctions and awards, and news about him with reproductions of his
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In fact the style change, which made him prefer oil painting and saw the use of systematic and almost exclusive spatula instead of a brush, occurred in the late
Fifties. Some of the paintings exhibited in Rome in July 1961, including two paintings that were awarded to the contemporary art exhibition
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After the summer of 1965 he left teaching and set up the large study that, among carob trees and prickly pears, he had built on the land of Santa Maria la Noce. It was now easier to prepare sketches and large cartoons for religious works and then – limiting the charcoal and pastel studies – he could
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ascribes to the works of
Antonio Sicurezza "the solidity of a job not only well known but also rich in resources and, most importantly, that shows a genuine temperament, from the narrative paintings skills. The quality of design and composition, sensitivity to color and light, reality probated but
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Two other considerations must be made: color and atmosphere. Sicurezza manifests for the color a particular passion and he accepts difficult challenges. The atmosphere should be clarified as a physical fact: the atmosphere of the corner of the world where the painter lived and characterized by an
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The critical comments originate from: Anna Luce
Sicurezza, "La sala "antonio Sicurezza" nel palazzo municipale di Formia", Palombi Editori, Roma 2007, chapter "Una breve analisi critica"; Alessandra Lanzoni, "La pittura di Antonio Sicurezza", De Luca Editori d'Arte, Roma 2011, chapter "La
214:
The search for new altar pieces, replacing the ones destroyed, it is not easy for both the difficult economic situation and the clergy that requires religious representations in line with the traditional iconography, which the artist sometimes agrees not to foreclose future commissions.
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The background assumptions of
Sicurezza's painting are based on values indispensable for him: the respect of human dignity and the sacredness of work. The artist continued to explore and experiment with constant application for many years to reach its capacity of synthesis in painting.
395:
Antonio
Sicurezza, in a century that profoundly transforms reality, puts himself stubbornly in the vein of realism. The artist, at once humble and stubborn, finds his formula of expression in ancient heritage but with original and modern execution.
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filter of the artist, the performance is careful and accurate for its main theme and the parties to which are assigned a significant role. The same performance is tempered and sometimes only mentioned in the rest of the composition.
262:. It is valuable to note that the landscape behind the figures is represented in a deliberately simple manner, so that the faithful can recognize immediately the local sights and monuments, as in St. Albina and in
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Other critical interventions are often united by a thin thread that identifies values early in the artist and natural attachment to popular traditions, moral honesty, humility and frank simplicity.
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instead puts its focus on humble objects represented in the paintings of the painter, who, "with a wonderful insight figured object, is able to convey continuous points of joy and reflection".
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In the summertime he worked outside to paint landscapes and alleys, while during the rest of year he worked in his studio mainly with charcoal and watercolors or
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for the female nude observes that "the earthly reality of the fine figures of young girls is filled with love of classical perfection of chaste nudity."
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extraordinary transparency and brightness, and in which the subjects of his paintings systematically lie, receiving security and serenity.
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When
Antonio Sicurezza could finally express himself more freely, he had artistically valuable results, such as the works of the apse of
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in the context of the events of Italy '61, already put in evidence the use of the spatula to illustrate the human figure and objects.
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118:(February 25, 1905 – August 29, 1979) was an Italian painter. His work is representative of the Italian
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The war had destroyed and damaged the churches in the area, which held many of
Sicurezzi's work. Among them were
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Storia illustrata di Formia - volume V: Formia in etĂ contemporanea, dagli anni
Quaranta alla fine del Novecento
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288:. He produced sketches and studies for religious themes or he painted still lives with immediacy and lightness.
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The biographical information, also for the following chapters, originates from the books: Anna Luce
Sicurezza,
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131:
58:
142:, winning a scholarship to fund his studies. He obtained a diploma in painting training under masters such as
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of that period. His artistic production includes still lives, portraits, landscapes, nudes, and altar pieces.
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346:. It was the beginning of the sickness that, a year later, August 29, 1979, brought the artist to die in
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systematically focus on oil painting, especially of the human figures and still lives.
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he, his wife, and their four children, fled first into the mountainous caves in
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With advancing age, Antonio
Sicurezza and his wife moved to the centre of
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also poetically observed, often allow him to achieve beautiful accents".
335:, many nudes, vigorous still lives and some outside scenes were painted.
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722:, Palombi Editori, Roma 2007, pages 17-21; Alessandra Lanzoni,
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Antonio Sicurezza. Ritrovamenti ultimi e approfondimenti biografici
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Antonio Sicurezza, pittore. Cent'anni dalla nascita, 1905–2005
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La produzione pittorica di Antonio Sicurezza negli edifici di culto
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works can be found in various catalogues of contemporary artists.
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Maestri storici della provincia di Latina nelle raccolte camerali
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Antonio Sicurezza. Interventi conservativi e nuovi ritrovamenti
266:, in which it is particularly significant the view of the large
173:. Here he met Virginia Mastrogiovanni whom he married in 1934.
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Exceptionally, in August 1978 Antonio Sicurezza did not go to
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in 1933–1934, when he was called to paint the chapel of
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La sala "Antonio Sicurezza" nel palazzo municipale di Formia
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La Sala Antonio Sicurezza nel palazzo municipale di Formia
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Opere di Antonio Sicurezza nelle chiese del Basso Lazio
644:, about 1960, ″Antonio Sicurezza″ hall, City Hall of
726:, De Luca Editori d'Arte, Roma 2011, pages 133-137.
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254:at the church of Our Lady of Carmine and that of
188:. After the war, the family returned to Formia.
376:, 1972, "Antonio Sicurezza" hall, City Hall of
329:groups of young people with musical instruments
35:Photo of young Antonio Sicurezza, date unknown
8:
749:Grimaldo Casalnuovo and Antonio Sicurezza,
879:Antonio Sicurezza - Temi Sacri e Religiosi
29:
18:
849:I dipinti minturnesi di Antonio Sicurezza
230:, "Antonio Sicurezza" hall, City Hall of
199:), a fresco he painted for the chapel of
246:, and then, above all, the paintings of
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1015:People from Santa Maria Capua Vetere
777:Pier Giacomo Sottoriva (edited by),
770:Pier Giacomo Sottoriva(edited by),
819:nella pittura di Antonio Sicurezza
763:Massimiliano Vittori (edited by),
342:for the annual celebration of the
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1040:20th-century Italian male artists
909:Antonio Sicurezza - Nature Morte
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579:, about 1975, private collection
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834:La pittura di Antonio Sicurezza
724:La pittura di Antonio Sicurezza
203:and two oval portraits of Pope
184:, then through the warfront to
642:Pilgrims at Civita's Sanctuary
242:, St. Albina in the church of
1:
1030:20th-century Italian painters
924:Antonio Sicurezza - Ritratti
756:Studio Fotografico Immagine,
864:Antonio Sicurezza - Paesaggi
939:Antonio Sicurezza a Formia
926:, De Luca Editori d'Arte,
781:, 2005, Cisterna di Latina.
474:Still live with cauliflower
280:, 1976, private collection.
134:, Sicurezza studied at the
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971:, De Luca Editori d'Arte,
956:, De Luca Editori d'Arte,
941:, De Luca Editori d'Arte,
911:, De Luca Editori d'Arte,
896:, De Luca Editori d'Arte,
881:, De Luca Editori d'Arte,
866:, De Luca Editori d'Arte,
836:, De Luca Editori d'Arte,
700:, 1977, private collection
624:, 1971, private collection
609:, 1973, private collection
594:, 1970, private collection
559:, 1974, private collection
544:, 1973, private collection
526:, 1963, private collection
511:, 1970, private collection
491:, 1974, private collection
476:, 1971, private collection
461:, 1971, private collection
446:, 1969, private collection
365:, 1961, private collection
319:, 1969, private collection
937:Teresa Sacchi Lodispoto,
907:Teresa Sacchi Lodispoto,
666:- Church of Saint Erasmus
374:Still Life With Anchovies
28:
894:Antonio Sicurezza - Nudi
444:Still Life With Pitchers
350:at the age of 74 years.
340:Santa Maria Capua Vetere
176:In the hardest times of
132:Santa Maria Capua Vetere
59:Santa Maria Capua Vetere
363:The Bride from Minturno
1020:Painters from Campania
877:Ferdinando Buranelli,
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331:that the artist calls
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278:Still Life With Onions
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1035:Italian male painters
952:Anna Luce Sicurezza,
799:Anna Luce Sicurezza,
784:Anna Luce Sicurezza,
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228:The Bride from Formia
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862:Giuseppe La Mastra,
832:Alessandra Lanzoni,
736:maturitĂ artistica".
197:Angels Playing Music
136:Academy of Fine Arts
967:Eugenio Sicurezza,
851:, Palombi Editori,
821:, Palombi Editori,
803:, Palombi Editori,
788:, Palombi Editori,
685:- Church of Carmine
459:Still life in white
1025:People from Formia
922:Sabrina Spinazzè,
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201:Our Lady of Pompei
990:Antonio Sicurezza
977:978-88-6557-530-7
962:978-88-6557-355-6
947:978-88-6557-249-8
932:978-88-6557-188-0
917:978-88-6557-153-8
902:978-88-6557-140-8
887:978-88-6557-115-6
872:978-88-6557-092-0
857:978-88-6060-380-7
842:978-88-6557-041-8
827:978-88-6060-289-3
809:978-88-6060-149-0
794:978-88-6060-081-3
774:, 2003, Avellino.
354:Critical analysis
219:Artistic maturity
169:in the church of
152:Vincenzo Migliaro
116:Antonio Sicurezza
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55:February 25, 1905
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660:Saint Albina
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178:World War II
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161:He moved to
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72:(1979-08-29)
1010:1979 deaths
1005:1905 births
317:Clean hands
308:Final years
264:St. Francis
250:and of the
248:St. Francis
167:St. Anthony
156:Paolo Vetri
86:Nationality
999:Categories
706:References
432:Still life
344:Assumption
256:Saint Roch
51:1905-02-25
679:Announced
497:Landscape
126:Biography
817:Maranola
681:, 1967,
662:, 1964,
333:concerts
296:held in
240:St. John
205:Leo XIII
186:Calabria
171:Maranola
130:Born at
104:Movement
98:Painting
577:Susanna
427:Gallery
286:tempera
234:, 1978.
89:Italian
80:, Italy
61:, Italy
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683:Formia
664:Formia
646:Formia
378:Formia
348:Formia
325:Formia
270:gulf.
232:Formia
163:Formia
140:Naples
78:Formia
565:Nudes
298:Turin
268:Gaeta
973:ISBN
958:ISBN
943:ISBN
928:ISBN
913:ISBN
898:ISBN
883:ISBN
868:ISBN
853:ISBN
838:ISBN
823:ISBN
805:ISBN
790:ISBN
622:Nude
260:Pico
154:and
67:Died
41:Born
403:).
258:in
138:in
1001::
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158:.
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195:(
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