Rosario Blanco is a young Sicilian from Catania, born there in 1974 but Lombard by adoption as here he lives and has formed his artistic and cultural education. This is definitely perceived by the works that the young artist proposes and that seeps from all of the innovative drives that the most recent art has created, in those waves of a return to paintings that since the mid eighties has been widely proposed once again.

Let’s call it trans-avant-garde or postmodern painting, it’s more or less the same thing; what really counts is the essentiality achieved in these images that are not yet a symbol but achieve a very strong scheme that breaks every scheme regarding an impressionist, postimpressionist neo-figurative or neo-informal formula. Blanco is self-educated but this is not a negative factor as he was not infected by the influence of masters and schools; he communicates his way of being and feeling beauty, that beauty that in postmodern times, such as ours, has new meanings, new indicators, disturbing certain customs as well. In Blanco’s paintings, of his sunny and Mediterranean land, such as what Sicily represents, the definite and brightness of the color tone resists and is shown in wide layers, marked and almost pulled to pieces, also reminding us of a certain neo-informal American style of poetry. Especially in certain landscapes, these bands of color are essential to the painting and clearly mark the entire construction.

There are works like “Un fiore per te” (A flower for you), “Gli amanti”(Lovers), “Donna di spalle” (Woman’s back), that better certify the cleanliness of the images, cut out to the most in surrounding volumes. Rosario Blanco is a young artist but promises more than well and is aware of the direction he must take to communicate his creativity, his inner manner and his poetic belief. On the contrary, a work like “Non ti amo più” (I don’t love you any more) seems to take place in an abstract plane, where a handkerchief of black color, perhaps an echo of the kites of his childhood, is liberated in the white field of the material background, just drenched with iridescent spots. Therefore this type of painting is starting to be approved and supported by more and more Italian critics and is especially gaining space in the galleries in which his paintings are hung also attracting the attention of the curious collectors. If this style of painting and the progress of this painter is carried out with valid cultural choices, with time we will have a rising star, a painter gaining more and more approval, over and beyond academies already full of union-led and banal professors that no longer capture what is new and no longer cultivate beauty that in the century that has just left us has marked a singular fortune.

Translated by Interpres sas