Alfredo de Curtis Critique by Timothy Warrington

alfredo de curtis art artistAlfredo de Curtis’ beguiling opuses enkindle an exquisite softness towards their subject that the artist inaugurates via an innovative approach to his medium in which he incorporates sand with oil paint to induce an overwhelmingly solicitous aura in his oeuvre. Within his unique style, the indelible influence of his Italian heritage is provocated as discernable references to classical Fresco painting and Renaissance tableau can be detected, while simultaneous references to the Impressionists can also be surmised; most notably through the acute academic thought that is shared with Paul Cezanne. An adventurous side to this creative soul is also prevalent when considering his observations of line and perspective, which suggest inspiration taken from Wassily Kandinsky and the Surrealism of Salvador Dali. While deftly meandering through this ubiquitous array of artistic afflatus, De Curtis paints figures, landscapes and still life with ceaseless delicacy and tenderness; the natural mediums he utilises contrive a richly textured surface upon which to accumulate oil paint and create an organic atmosphere that evokes a prodigiously peaceful aura.
 
De Curtis’ masterful practice of chiaroscuro allows the subjects of each piece to exude a graceful iridescence comparable to Balthus and Amedeo Modigliani, indeed these artists depict the nuances of light and shadow with flawless technique. Further similarities can be detected here in the countenance of their models, who seem to have been caught in motion and so rendering an ephemeral ambience in the compositions; their natural postures and serene facial expressions are reflective of the familiar settings in which they are situated. De Curtis’ figures are intimate in their cerebral bonds with one another, particularly in pieces such as ‘A Day of Rest At the Beach’ and ‘Mother and Daughter’. De Curtis perfectly captures the echt connection between the subjects, which gifts the viewer with the rare and treasured opportunity to linger closely in the world of the painting and to develop a tangible cognitive understanding of the artist and thus deepen the emotional response awakened within them with such romanticism that thoughts of Frédéric Bazille are conjured. ‘Conversation on the Stair’ is a fantastic example of De Curtis’ intellectual and innate understanding of primordial human nexus. This piece is demonstrative of the artist’s profound ability to augment an ambience of mystery via intriguing compositions which draw focus to the central conversation; De Curtis elicits the viewer’s imagination as they ponder the deeper meanings harboured within the piece and at once conveys his own personal philosophies through the psychological and conceptual aspects of the artwork.
 
Considering the subdued, hazy touch of light that brushes across De Curtis’ landscapes, coalesced with his sophisticated use of colour, it is possible to draw comparisons with Edmund C. Tarbell. De Curtis sagaciously propels this same semblance of extraordinary tranquility in his cityscapes with impeccable dexterity, allowing the viewer to cogitate further comparisons with the Expressionist Alexander Kanoldt. De Curtis portrays the magnitude of the city whilst preserving the charming equanimous essence that he maintains throughout his artistic style. The commanding precision of the artist’s brushwork is superb in its academic ability to articulately translate his intellectual thought and intention through his implicit execution.
 
It is evident through De Curtis’ approach to his subjects that he shares strong philosophical ideals with Georges Seurat and Georg Schrimpf. These artists display a sincere understanding of kindred human connection and interactions, as well as a strong affinity with nature; a perfect symbiosis is depicted between humankind and the natural world, in which these elements balance and integrate with poetic harmony. De Curtis’ considered compositions coruscate focus on ineffable familial ties, further solidifying his affinity with mother nature’s creations and the recrudescent journey of life. The figures that the artist delineates are effervescent, their near translucent skin expertly reflects light, suggesting an influence from Marc Chagall; however, whilst Chagall’s works often evoke celestial and religious imagery, De Curtis instead chooses to celebrate the beauty in our own world by presenting us with quotidian people in familiar settings. De Curtis executes this with such captivating nuance that he introduces an unreservedly refreshing perspective to his artworks, which translate infinite meanings and emotions to an observer as he effortlessly invites them to view their surroundings in a new spiritual inclination.