Antonio Mignozzi, Figure at the Window, Fresco on Canvas, 1970s

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“Figure at the Window” is an original work by Antonio Mignozzi, created using the artist's signature technique: a fresco on … Read more “Figure at the Window” is an original work by Antonio Mignozzi, created using the artist's signature technique: a fresco on canvas prepared with a textured impasto reminiscent of ancient plaster, scratched marks, and weathered surfaces. The frontal figure, defined by clean lines and a suspended gaze, is typical of Mignozzi's mature period, active between the 1970s and 1980s. The work features a signature on the front, and on the back, the handwritten title and the artist's stamp, elements that reinforce its provenance and authenticity. The artist, born in 1942, studied in Bari, Rome, and Milan, completing his training at the Brera Academy under Marino Marini. He has exhibited in numerous solo shows in Italy and Switzerland (Milan, Brescia, Locarno, Verbania) and participated in group exhibitions, receiving various awards in the 1970s and 1980s. His research fuses memory, matter, and sign, with a language suspended between figuration and abstraction. This elegantly framed work is ideal for collectors of contemporary Italian art as well as for interiors with a poetic and material taste. Antonio Mignozzi was born in 1942 in Trebisacce (CS), studied at the Brera Academy in Milan, and has lived and worked in Verbania since 1973. His painting practice investigates visual memory, matter, and the suspension of time between figuration and abstraction. His works have been presented in numerous solo exhibitions in Milan, Brescia, Locarno, and Verbania, and are listed in specialized auction catalogues. The artist's current market highlights modest figures, making this work an attractive opportunity for discerning collectors or contemporary design environments. Mignozzi uses a distinctive technique—often described as "fresco-like"—in which he mixes earths, glues, and natural pigments, some of which are sourced directly from his native region. His surfaces appear like ancient plaster, detached fragments, evoking cave paintings all the way to early Christian art and twentieth-century Italian art: a language that explores matter, the archaeology of the sign, and formal essentiality. Stylistically, the works present slightly abstract, frontal figures, with a quiet yet intense expressive force; there is a sense of continuity with the teachings of Giotto and Masaccio in the restoration of the materiality of painting and walls. See less