I love to paint every light, every color that nature offers you, capture all the personal sensations of the landscape and nature . Every emotion brings a new painting to life.
The emotion of a dream
Painting has got body and spirit. The body is what you see in the painting . However , if used for the sake of it, visual material alone cannot claim to have the magnetism of Art. It would lack the spiritual "twist" necessary to touch the observer's soul, even upon condition that it was the result of sublime brushstrokes typifying illustration and view painting. The spirit in painting is completely different, it reflects what is not to be seen or, to put it better, what is visible to special observers as gifted as to perceive what the painter strives to convey: anything going beyond the objectiveness of things. Thus, it is about sensing the "spiritual rogue wave"which triggers in the author's mind and soul and has the force to open its way and emotionally resonate with the keen observer 's sensitivity. The spirit in painting is unfailingly elevated in the body to such an extent that it mysteriously partakes of the emotion of body to such an extent that it mysteriously partakes of the emotion of a dream. Following these introductory notes, I think it is understood that the magic and the spiritual talent of the Venetian painter Zanucco reveal these artistic principles and his entire self seems imbued with an emotional painterly drive. His fresh and modern painting blends old and contemporary traditions. His painting reveals his innate passion for the Impressionist Poetics imbued with the sweetness of the Venetian character and the rediscovery of Veneto Painting's glorious past to which his brushstrokes unfailingly add a modern touch. Zanucco has always approached the gentle, aristocratic landscapist Veneto Painting of the past by letting the observer sense beauty with the aid an all-personal spiritual twist his painting is unmistakably imbued with. On the other hand, talking about Veneto Painting requires that we dwell on the main source of inspiration of his rapturing colours, namely his home town with its breath-taking lagoon in the background, together with the Realm of his Art paths. It is a challenge Zanucco braves daily to capture the unmatched city light shades and the time variations on his canvasses. He is driven by the need to capture the impenetrable silence of calli and campielli, the shimmering water of the canals, the charming remote shores, the magical green shade of the fences, the rustle of water coming from the oars and much more. His outstanding painterly and spiritual drive captures light through masterly use of colour, thus attaining the magical effect of purity and transparency reminiscent of Murano glass. His is a mysterious dream-like colour vocation he seems to be naturally gifted with and, thanks to which, be can afford to claim that his painting is the modern, interpretative representation of the Impressionist Movement. He strives to attain ultimate painting quality and to bestow intense spiritual depth on his landscapes against which he stands out as the unquestioned protagonist. He does not take interest in painting official Venice, namely the sumptuous side of the city with its aristocratic palaces mirroring in the Canal Grande or elsewhere. This side of Venice, admired by multitudes of tourists from all over the world, is not the same that has his sensitive inspiration open a way; one is aware that his soul is prone to plunging into and conveying the recondite coziness of other views and is thus engrossed in painting a different Venice: hidden and unknown yet revealing a spiritual drive which, besides suiting his painting and gratifying his soul, unmistakably raptures special observers. Anything you admire in his paintings is not just a reflection of the simple objectiveness of things, but the mirror his artistic soul perceives beyond. Therefore, the air he breathes always overlaps with the visual material of the landscape that has him express a new creative surge through painting. In addition, the soft and precious detachment from reality, which he achieves through his spiritual drive, harbours light and colours as profound as to clad the painted image of a dream. Now, it may be claimed that, craving to breathe free, his representations achieve an all-personal, always new impulse to be conveyed by the poetic vibrations associated with natural atmospheres and firmly embedded in his Venetian heart. Among them stands out the ethereal image of Venice's silent canals which like water veins, mirror the rhythm of the sky, like the mysterious solitude of its remote corners, impregnated with the immobile winter melancholy or the sun-drenched summer jubilation. we can thus maintain that his painting has Venice, this silent but tangibile fantasy isle, look like a metaphysical setting. Be it understood that Zanucco's painting has nothing to do with the essence of metaphysical Art which he owes nothing. Yet the traces of its rules, which mirror human states of mind like silent unexplored places, solitude, surreal atmospheres and intense emotional stimuli, originate from his artistic brightness and from the magic of his brushstrokes. Thus, he masterly juxtaposes these precious emotional impressions, which are same flowing out of his inspiration, with his Art nesting them like a fruit-bearing womb. All the more so, when we think that it is the very air of the lagoon which becomes one with his impulse, his painting caresses and tastes the mysterious poetry bewitching him. Now you may believe that this attentive admirer of his works is driven by two legitimate convictions: the first consisting in objectively stating the unquestioned beauty and purity of the images he paints; the second being a confirmation that his artistic destiny follows a pure, simple painterly line definable as "intellectual honesty" he pours into the colour and compositional inspiration of his image. This means that his hand and mind obey an ethical coherence which has him banish whatever device from his painting , unlike the philosophy of art performance often does to arouse the curiosity of distracted observers. He does not aim at gaining alleged consensus, nor to pollute the essence of painting; in order to achieve ultimate artistic standards , he tries to resort to far more noble means: "trade", the term applying to all arts and times. His art knows it can count on a precious "surplus" beyond the objectiveness of things. And, in order to attain this goal, in front of the canvas, he summons artistic and inspiring spirituality which he pours in the heart of painting the beauty of which becomes enriched with enchanting aesthetic solutions like: magical light and shade spring or winter breaths, secret inspirations of boundless, ethereal silence, poetic far-away landscapes and more, always unfailingly devoid of any artifice. These splendid pictorial sensations beautifully crowd his paintings in a dream-like dimension that displays thanks to the paramount contribution of his inward-looking soul. I like to underline that his art is the most genuine and ethical expression you could ever think of in the current art tangle, the destiny of his art is bound to surpass itself as its impulse fears no poetic decay and its painterly mirage is wrapped in the cape of a splendid dawn. Now we may wonder: what is so special about his painting? Nothing and everything . In fact , we can undoubtedly adopt the penetrating, punchy language of these simple notes as mounting evidence: your winding steps lead you as you wander along calli and campielli. The undulating surface of the canals you admire as you walk along the shore. It is the arabesques and the bright colours rapturing you the moment they reflect above the houses' ancient walls. The rhythms and the changing sky towering above as you look with incredulous eyes. The iridescent colours and the contrasting lights are not there to glare you. Indeed, they seem to beckon an escape from reality. In order to try and substantiate this string of thoughts, we would need to undertake a bird's-eye-view journey and poetic distance painted and open to the brightness of a dream would bliss our eyes. If only we wanted and plunged into his painting, we could capture even deeper images, on the other hand, in order to grasp the meaning of this request, we would need the feedback of emotionally educated observers. There is no denying that his painting is driven by an inspired vocation harbouring his drive and desire to freeze and translate nature according to an all-personal interpretation where the landscapes he brings to life not only come across as a visual texture but, first and foremost, as house to the soul it is imbued with. Thus, the space he unconditionally loves, and paints, reaches unexpected depths and its gentle places, like in every perfect fable, carry on along unimaginable paths. In doing so, this concept has vigorously contributed to define the formal traits and contents of his artistic style. His painting, in fact, is the seamless combination of two different conceptual universes: one is about sheer objectiveness, the other one is about his rigorous pursuit of profound coherence applying to the secret dimension of Dream. His is a painterly personality exuding a one-of-a-kind , distinguished style which climate detrimental to genuine painting, offering the gift of a feverish dreaming ability.
I start painting at the age 12 with determination and I believe in my work and constant daily commitment. Since I was a boy, I have always watched the Masters of the past, above all Venetians , where color predominantly in design . Each of my inspirations is the result of a discipline inspired by nature and its suggestive moments.
Here I am while I try to capture the light of the Venice Lagoon.
My paintings are slowly matured and grow as the emotion lives inside me, every color, every moment lives in my memory and slowly turns into color and inspiration. Each of my works is the result of long observations or simply walking around my city, and here the desire to transport every little sensation and infinite joy to stop the moment seen savoring every color and nuance that nature offers me. A simple but complicated work at the same time, every expressive sensation must be supported by a thick painting technique.