"the criticism "

 

   The art of Fiorello Tosoni, is already so well known , then to speak about it is nearly an obligation, but for the real connoisseurs is at least superfluous. Tosoni, is a great draftsman, and a master in the art of glazings. He knows all about the secrets of the painting of past centuries, but he is feeling the moments of our times, the difficulties of our world and the traces of these sensations are positively betrayed in his work.
Perhaps is for this union of masterly acquaintance technique and spiritual knowledge that the poetical suggestiveness of his painting is born.

Mauro Innocenti
Rai Radiotelevisione Italiana 5 Dicembre 1973

                              …light to Light love to Love


Dear Tosoni,
I can hardly understand what iconoclastic fury moves a great number of "artists" to destroy art, or what masochistic urge drives hordes of "critics" onto their knees to praise such havoc. I don't know what extreme folly is moved to contest the elect, those that is, who rigorously and coherently stand guard over the authentic values of Art such as taste, good sense and the wisdom of the past handed down to us. It must be an apocalyptic sign of the times. It would drive us to desperation while awaiting the end if there were not some sign among the ruins of an unending and insurmountable greatness.
What recognition is owed to you - and like me there are still so many others fortunately at home and abroad who conserve and guard and offer both memory and merit - I will not tell you. I am not addressing you in order to flatter you, because Art, in any case, retreats in the face of flattery and abhors adulators and adulation alike. It is still true that art, like goodwill, is recompensed - and rightly so, in its own, often reserved, manifestation. This is to say, in its natural, almost unnatural, completion, accustomed though today to a completely different, calamitous expression and harmful explosion.
You are beyond the "grace" of the Malevolent. And it has to be so. If your brush lightly and timorously caresses a face, therein lies also respect for an unequalled creation, for a life that has appeared by chance, that does not descend to the animalesque, does not become savage, degrade itself and slip into nothingness. Your hand tries desperately and happily to compete with the Absolute from which that spark has escaped as almost a challenge, though not blasphemous; to the light you want to gather the light of intellect, where the Absolute places love: light to Light, love to Love. Certainly divine grace illuminates you and the spirit of living things manifests itself in your work, whether it is in the form of eyes that shine out of your canvases like meteors, or mouths that bum like Vulcanoes, cheeks that flower like Springs, shoulders that germinate invisible but tangible wings. And the spirit of God and Man is in nature: your brushes raise blue mountains, pink hills like pink breasts, trees and leaves like hands and hair, calling and greeting us; and water like blood, and rivers like blood and seas like blood reflect clear skies, storms, cliffs and earth. It is creation that grows dark in your work, and you translate the inexpressible, you open the infinite, you anticipate sensations and vibrations leading into new dimensions, trembling new skies, anxieties appear as new lands.
In you I recognise, brother, the true, authentic, eternal face of Art which turns the material into spirit and a fistful of dust into the seed of God


Your Salvatore Sorbello

From " Il Volto" March 1973

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Fiorello Tosoni in the studio 1990

   …………..as far as we are concerned we want to bring up an example regarding a painter who is famous, much appreciated, recognised, and regarded beyond measure for his unquestionable ability to paint portraits. The painter is Fiorello Tosoni, without doubt an artist who in the portrait excels because he adds his ability to psychologically interpret the portrayed person to the quality of formal and physical similarity along with the beauty of the means used in order to reach those well-noted results. However, making portraits - and however beautiful they may be - does not mean being a painter of magnificent quality and extremely refined skill, as is the case with Fiorello Tosoni; his exhibitions, many of which have been held both in Italy and abroad, are witness to this. Tosoni is definitely an artist who senses with the human figure particular predilection but he is also an artist who can be called painter in the widest and most vigorous sense of the term.

Mauro Innocenti
from "Progress " February 1978

   …..It seems superfluous to us to remind one that the fame of Tosoni runs along all parallels, not least that of his master Annigoni, whose favourite pupil he was, and interesting - a very rare thing - even the front pages of English newspapers.
Among the portraits done by this artist from Prato it is worth remembering those of the great Brazilian financier Heimpel and the Australian magnate Hughes. No less indicative of the celebrity of the artist is the large landscape commissioned by the Cassa di Risparmio di Prato which is well placed alongside a Caravaggio and a De Chirico…..

Salvatore Sorbello
from "La Nazione" 6 February 1981

   Tosoni, in a few years, by applying himself to the maximum and subjecting himself to harsh discipline, has taken his place among the most significant artists of our time.
His production distinguishes itself by its expressive clarity, both with pictorial works (landscapes, seascapes, male and female portraits) and with graphic works (female portraits and portraits of children); in all of them he can boast of sensitivity, harmony and the bravura of an expert draughtsman, visible in the drawings and perceptible, appreciably so, in the pictorial works where the drawing, if only veiled, is at the basis of every painting.

Antonio Ciardi Dupré
from "Arte Contemporanea" 1971

   Fiorello Tosoni's master, Pietro Annigoni, gave him much, but Fiorello has enriched his own work even more through the innate natural sensibility which has made him a master of colour and light - an enviable technique for a painter of his age. These few words describe one of the most qualified Italian portrait painters of our time, who for years now has been travelling the world to paint commissioned portraits of the famous. Here too Tosoni, who works at the top of an ancient tower in the heart of the city, from which he looks out over old rooftops and from where he can examine the light of dusk and the days steeped in sunlight, takes after his master, who was also committed to canvas portraits of the famous, and splendid young women who prefer being immortalised by the hand of a master who puts his own intelligence and personality into the image, rather than the cold, impersonal memory of a photograph.

Umberto Cecchi,
in "La Nazione", 1976

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Fiorello Tosoni in his studio 1972

   We could start this short task of ours by saying that the presentation of an Artist (accept the capital please) such as Fiorello Tosoni is arduous, difficult - we could say almost embarrassing, given the stature, artistically speaking, of Fiorello Tosoni. And as almost everybody does, we should get down to leafing through catalogues, encyclopaedias, specialised magazines, books, newspapers - the more one has the longer it takes - in order to come up with some adjective which has escaped the acute observation of critics in particular, and art lovers in general, to serve up here in favour of a Tosoni who in no way needs so much chatter, seeing as his works present themselves easily on their own to the admiration of those who are fortunate enough to visit an exhibition of his, so as to lavish - or it would be better to say instil - in their 'self' all the colour, the heat and the joy that leaps from his canvases.

Vito R. Doronzo,
from "R. M. Mensile d'attualità," December 1985

   ……….. Tosoni paints with great scrupulosity and is among the most noted artists of our time, while his works, both paintings and graphics, are distinguished by the quality of expressive clarity and the sensibility and harmony of the pictorial discourse. The fineness of his stroke, unravelling through different tones, constitutes the root of Tosoni's work, and of Tuscan art itself….

Maria Volpe
from " Scena Illustrata " March1995

   An exhibition of drawings and paintings, about forty works of great emotional impact, has just been inaugurated at the Galleria Piazza Erbe. Masterpieces by a master from the past when painters were few and the academies distilled artists of super refined talent. Thin ranks of the elect entrusted with the task of creating the history of art.
……….In comparison with his master Annigoni from whom he learnt his formal discipline, Fiorello Tosoni paints with greater grace and delicacy. Many of his works seem to have been conceived by a sublime poet, whether they are portraits of women or sharp mountain landscapes or seascapes. Everywhere noble sentiment and tender sensibility triumphs. In every canvas one senses the tremor of life, the throbbing of an ancient love, unrepeatable survivor, the last drops of a constantly clear and legible painting which is disappearing with the last masters who practised it with patience, severity and unlimited sacrifice. A painting upon which Tosoni has constructed his life rather than his career. Without regrets.

Silvino Gonzato
from " L'Arena di Verona" 5 July 2001

   Fiorello Tosoni, whose skill and art has long been known, has painted a beautiful portrait of Senator Guido Bisori.
The portrait which we see in the photo, focuses upon an extremely real 'reading' of the person, placing emphasis also on the 'character' that appears through the painting.
Ex pupil of Annigoni, Fiorello Tosoni has produced works which are found in the most important collections around the world.

from "L'Avvenire" 27 January 1980



Fiorello Tosoni with his mother 1984

   A painter of magnificent quality and refined skill, Tosoni has exhibited his most successful works both in Italy and abroad. His paintings testify to a deep spirit, a love of the beautiful and the poetic that springs forth from the faces. He is in fact an exceptional portrait painter and a clever colourist and his canvases reveal a wealth of composition and solidity in the drawing, all amalgamated by a sort of warm colouring. The female faces have to be recognised as masterpieces of elegance, nobility and grace, reflecting the personality of this very creative painter. Fiorello Tosoni's intent has been that of depicting the world and human beings in their truth without superstructures and as realistically as possible. In his "Helena", painted with a mixture of techniques, the woman appears as being idealised, perfect, very sweet. In the landscapes the details are in movement, reality in the process of becoming, and express the quest for a modern language.

Cristina Grazzini,
from "Tribuna Sera"

   Figures and landscapes open onto a complete knowledge of the means of expression. In both cases Fiorello Tosoni manages to grasp the moments of authentic poetry, of real lyricism. The expression in faces, sweet or meditative in a seriousness which causes one to reflect, the composition of the whole, endows the figure with all the suavity of an uncontaminated innocence, the scent of a human flower that has to be enhanced to the fullest because it reflects an interior spirituality. The landscapes are and intend being a hymn to nature, to the streams or ponds of the countryside, lush with life and unpolluted breathing; a nostalgic memory of farmhouses where country life continues in its simplicity as in bygone times, but where there is so much silence and so much poetry.

"L'Eco di Bergamo " 20 December 1973

   Fiorello Tosoni belongs to that small group of artists whose nostalgia for the golden centuries provides them with the scruple of making themselves congenial to the spirit of the old masters by taking on completely their manner. On the one hand we have the acquisition of a demanding, finite technique which is sharp to the point of virtuosity, and on the other the will to express oneself in a high, ennobling, anti-prosaic language, which dresses reality up in accordance with the solemn rhythms of Renaissance painting and draws benefit from a myriad of cultural remedies and resonance. Tosoni moves through this cultivated and aristocratic climate: the work is long in forming, scorns the casual and the approximate and disposes the observer to an equally long contemplation imposed upon him by the sharpness and clarity of the artist's stroke, the firm compositional architecture - it's clarity.

Vittoria Corti,
from "Pittura Contemporanea nelle Collezioni Private" 1968

   The drawing of Fiorello Tosoni. Traditional, classic, luminous, airy. A drawing which is only "history". A Renaissance drawing fully grasped again from the great masters of the past; cleanliness in the stroke, perfect shading, portrait as portrait, soft modelling. A drawing as "language" in itself more than a support to the painting. Drawing for the sake of drawing: the pleasure of the pencil, of the sanguine, of the pastel. An autocratic language which is just beauty, harmony (a balance of form and thought). A form made up of pure agreements stemming from perfect euphoria.

Clotide Paternostro,
from "L'Osservatore Romano" 10 January 1981

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Fiorello Tosoni while he paints in his studio 1990

   Fiorello Tosoni, a way of acting between the uncertain and the hasty, a glance often fleeting; pupil of Annigoni, exceptional portrait painter and author of disenchanted and finely wrought landscapes that rise up from the soul and where skill and emotion are well blended.
This rapid human-artistic profile of a painter who leaves nothing to chance and improvisation and places his intense work upon two solid and indisputable bases - truth and passion.
Tosoni is a professional in the real sense of the word: to acquire this qualification he studied in London for four years, then did the nude course at the Academy in Florence, and for some years has been a pupil of Pietro Annigoni..
Working at close quarters with the Florentine master has consolidated Tosoni's technical security and means of expression, obstinate by nature in attempting to extract the best results from his uncommon stylistic gifts…….

Franco Riccomini
from "Prato Storia e Arte" December 1970

   The one-man show of the Prato painter organised by the provincial department of tourism of Pistoia is now taking place. Faces treated as if they were Renaissance frescos on board and canvas, detailed shading in which the model is in part connected to Leonardo-like shading, sadness and serenity which contrast and at the same time blend faces that go beyond the human, in faces in which the spirituality transcends the perfect outline of the form to the point where it reaches levels of high poetry.
The painting of Tosoni, already known and appreciated in the foreign artistic world, in Italy (given its desire to set itself apart from worldliness and the games of a 'market' of gallery owners) remains the privilege of its lovers.
A pupil of Pietro Annigoni, he has received numerous prizes and his works are on show in public and private collections all over the world..

Angelo Spinillo,
from " L'Avvenire "13 November 1975

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