Artists list

Ottorino De Lucchi

Foto Ottorino De Lucchi

Ottorino De Lucchi was born in Ferrara in 1951. He graduated in Chemistry (1975) and Pharmacy (1977) at the University of Padua. Throughout his life he has always carried out his artistic activity interposing it with his career of academic chemist, especially during his years abroad or away from his family. During his stay in the United States he could closely observe the works by A.Wyeth, getting excited about the technique and virtuosity of his "dry brush" paintings. Without any further detail, he started a series of experimentations which led to the independent development of an original technique with regards to the execution and the chosen subjects. This technique is based upon watercolour painting, where the relationship pigment-binder is optimal both for the transparency and the vividness and brightness of the colours. The pictorial weft obtained by using paintbrushes, paper and fabric is particularly fit to describe the surface of still lives, figures and landscapes. The transparencies and glazes, obtained both directly and through careful removals of colour, could not be reached by using other painting techniques. The results regarding contrast and brightness are so relevant that Ottorino De Lucchi has been often invited to describe his technique in various academies and Art Institutes. He lives and works in Padua.

Main exhibitions:

2016
Galleria PUNTO SULL'ARTE, Varese (IT)

2015
Galleria PUNTO SULL'ARTE, Varese (IT)
Galleria Nino Sindoni, Asiago (IT)
Galleria Nuovospazio, Portoferraio (IT)
Galleria Nuovospazio, Piacenza (IT)

2014
CK Contemporary, San Francisco (US)
Questarte, Arquà Petrarca (IT)
Studio 10, San Martino d.A., Mantova (IT)
Art Box - Water Views, Vicenza (IT)

2013
Galleria Fiorentina, Firenze (IT)
Galleria Novecento, Portu Quatu (IT)
CK Contemporary, San Francisco (US)

2012
Collezione 7x11, Itinerante (IT)
Questarte, Brunico (IT)
Galleria Novecento, Portu Quatu (IT)
Museo Ceramica, Deruta (IT)
CK Contemporary, San Francisco (US)
Galleria Salamon, Milano (IT)

2011
Studio 10, San Martino d.A., Mantova (IT)
Galleria Novecento, Salerno (IT)
Galleria Nino Sindoni, Asiago (IT)

2010
Galleria Civica Palazzo Moroni, Padova (IT)
Collezione 7x11, Itinerante (IT)
Showroom Ingo Maurer, Monaco (DE)
Museè d'Arts Decoratifes, Bordeaux (FR)

2009
Galleria Dal Ferro, Thiene, Vicenza (IT)
Galleria Gagliardi, San Giminiano (IT)
Galleria Questarte, Padova (IT)
Galleria Nino Sindoni, Asiago (IT)

2008
Galleria Gagliardi, San Giminiano (IT)
Galleria Questarte, Padova (IT)
Hotel Sofitel, Venezia (IT)
Galleria Novecento, Salerno (IT)

2007
Galleria Paola Dal Ferro, Thiene, Vicenza (IT)

2006
Galleria l'Incontro, Cremona (IT)
Galleria Civica Artcafé Englos, Dobbiaco, Bolzano (IT)

2005
Galleria Mandelli, Seregno, Milano (IT)
Editoriale CDE, Castel del Piano, Grosseto (IT)
Galleria l'Incontro, Cremona (IT)
Galleria Sindoni, Asiago, Vicenza (IT)
Galleria Gaudì, Madrid (ES)

2004
Galleria Civica, Bressanone, Bolzano (IT)
Galleria Spazio 10, San Martino dall'Argine, Mantova (IT)
Galleria Civica Sala Domus, Salò, Brescia (IT)
Galleria Civica Casa Seebock, Brunico, Bolzano (IT)
Galleria Borromeo, Pordenone (IT)
Galleria La Roggia, Conegliano, Treviso (IT)
Galleria Novecento, Salerno (IT)

2003
Galleria Sindoni, Asiago, Vicenza (IT)
Galleria Borromeo, Padova (IT)

2002
Galleria Sindoni, Asiago, Vicenza (IT)
Proposte, Galleria Forni, Bologna (IT)
Galleria Al Tezzon, Camposampiero, Padova (IT)

2001
Proposte Galleria Forni, Bologna (IT)
La Galleria, Padova (IT)

Alessandra Redaelli

Ottorino De Lucchi. Metaphysics of everyday life.

"Ottorino De Lucchi commences like this: "Twins should never be prematurely parted: they should decide the right time on their own". He deeply understands the matter, since – together with his twin Michele, the architect – he is part of a whole and complete couple: both artists (even though pertaining to different fields), they both fulfilled their life goals. "We have been in the same classroom until the high school diploma, and that was a luck. Nowadays that could not be possible: they divide twins from the kindergarten, but it is a risky approach which could crack delicate balances, creating distress".
Together until high school. Then each one chose his own path. Michele chose Architecture, whereas Ottorino devoted to science. As a matter of fact, he is first of all a chemist. This is a fundamental aspect to understand the sophisticated alchemy behind his works. His attention towards materials and his patient and constant study in order to gain a more precise technique originate from a pragmatic and scientific attitude. An approach which the artist translates into four steps: plan, do, check and act. Namely, the "Deming cycle", a model developed for constant quality emprovement within a long haul perspective: the only method, according to De Lucchi, upon which a valid artistic process can be rooted.
This is how the artist created his own technique, his personal version of the watercolour drybrush. As a matter of fact, going beyond the first impression, his full, pasty, vivid yet transparent still lives, whose light seems to originate from the inside, are watercolours. The typical representation of the watercolour as an evanescent, delicate, pale work should be replaced by the triumphs of perfectly mature and sweet white grape, velvet and soft cape gooseberries, turgid slices of tangerine and their containers: the shining silver, the snow white porcelain, the rough and broken consistency of stone. Moreover, the dark background, full and dense, upon which the still lives stand out like icons.
"While I was in the USA, I discovered Andrew Wyeth's painting, which blew me away", the artist said. "I read the captions: they reported watercolour drybrush… I started from it, through attempts and mistakes, from the idea of using a dry brush upon watercolours". Wyeth preferred brown, earthy and sandy colours, whereas the result sought by Ottorino De Lucchi was completely different. He has chosen the most intense and vivid colours, strongly emphasising by the purity of the pigments, and has revealed their full power. This is how the mere sense of reality – the literal meaning of the term "hyperrealism" – is overcome, in order to reach a more interesting beyond. Since these are not real colours: they are full HD ones. The technology of contemporary watercolours can be compared to the most sophisticated digital high definition, and the drybrush technique, used to obtain the best from colours, is the only which can lead the message towards contemporary metaphysical suggestions.
This is where these unique still lives place themselves. Their appeal lies within the uncertain boundary between reality and hyper reality. It does not only deal with chromatic choice. By observing the framing chosen by the artist, one can notice that the object is perfectly frontal. It is not captured from above, neither placed upon a table in front of the audience: the object is exactly aligned with the user's glance. As if it also owned eyes staring at the audience. It is an important detail. De Lucchi chooses a beautiful pewter vase – just right consumed, so that time placed little scratches upon its surface – or a porcelain bowl, decorated with tiny blue drawings, and puts red apples or juicy cherries inside them, nothing too extraordinary or particular: they could be a glimpse of our homes, of our daily lives which we could even forget about. He creates a miracle through them. He eradicates them from reality, laying them within a cosmic emptiness, as dark as the end of the universe, making them stare at us. Here comes disorientation and confusion, just like when a familiar person is met within an absurd context, where he does not belong to.
The depiction of a still life, a simple and understandable subject, is used by the artist as an opportunity to introduce a conceptual reasoning. A surgical analysis of reality which could be interpreted as an examination of beauty and transience, that is to say life and death. It recalls Marc Quinn's crazy and sumptuous creativity. In particular, that installation – Garden – where fresh flowers, which had reached the maximum level of their blooming and perfection, had been plunged into frozen silicone in order to forever maintain, even in death, the shapes and colours of their florescence. However, while the still greenhouse by Marc Quinn, where no wind blows, recalls Snow White's body placed in the plate glass coffin built by the dwarves – destined to remain forever beautiful, even in death – De Lucchi chooses life, gifting us with the hope rousing from the inside, from the hot heart of things."

Selected works