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I was born knowing that I had to be a painter, because my father, an art historian, always presented painting as the only acceptable thing in life.

Domenico Gnoli

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Domenico Gnoli
Father
Art
Presented
Thing
Historian
Always
Acceptable
Life
Painter
Painting
Knowing
Born

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Life can be considered as a huge wardrobe, with so many dominos hung in its cupboards, one domino per year. Now I don't see why I couldn't change my mask in this wardrobe even twice a day.
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I never tried to stage, to fabricate an image.
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My themes are derived from current events, from familiar situations, from daily life, because I never actively intervene against the object, I can feel the magic of its presence.
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You begin looking at things and they look just fine, as normal as ever, but then you look for a while longer and your feelings get involved and they begin changing things for you and they go on and on till you only see your feelings, and that's why you see this mess.
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I call prodigy all that is invented, all that begins to exist from the second it is conceived, it is the process not the results, the principle and not the fruits.
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I couldn't get used to the community and social life of a theatrical set designer.
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My life provides me with these images that become expressions of my daily experience.
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For many years it was difficult for me to paint because I didn't feel the informal painting that was then tyrannically dominating painters and art collectors.
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I am metaphysical inasmuch as I am looking for a non-eloquent painting, immobile and of atmosphere, which feeds on static situations.
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An audience is perhaps unnecessary to the soul-searching mystic, but it is vital to the magician, the maker of prodigies.
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I don't want to think that I am going to believe that I am a hell of a genius, or anything like that.
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The performance on the stage has its reasons in the performance induced in thousands of separate minds and this second performance is no less prodigious than the first.
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If an artist has the possibility to contact an infinitely larger public through the pages of a publication, he should try to invest more rather than less and go as far in his effort to communicate his inner image as he can.
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I never lost the taste and craft of the Renaissance.
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All I know is that mine was a completely new theory about art, a new approach that made the pictures appear just like life does.
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