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Italian visual artist.
The strange and timeless world of Leonardo Cremonini is a permanent, unmoving summer holiday frozen in colors - lilac, green and crimson - as crisp and cool as the varicolored sherbets sold in Italian summer resorts.... In a sense, Cremonini's paintings could be viewed as a contemporary equivalent of the church frescoes in his native Italy. The peculiar formalization of space and volume elevates the subject into a different order of meaning, and one may even perceive a hint of negative theology in the insistent absence of any human figure in so many of the paintings which show only a sun-baked pavement, a glimpse of the beach, the flat sea or the remote horizon spun out under a glowing sky. (http://www.nytimes.com/1995/04/01/style/01iht-fcrem_0.html)
Leonardo Cremonini was the son of a railway worker who taught him the basics of painting. In 1935, his father had to relocate to Calabria for professional reasons. The Tyrrhenian coast where Cremonini would grow up would have a profound impact on his later work. ...
Paradoxically, Cremonini shut himself off artistically to current trends. The wild, so-called free art of the next generation, represented by artists such as Jean-Michel Basquiat, he did not feel at all. "Painting must not make a noise," he wrote in 1980, "because only the doubt is dynamic."
As abstraction and conceptual art gained prominence in the 20th century, Cremonini seemed to be marginalized. But a recent resurgence in figurative art suggest a newfound appreciation for the artist. Among his admirers was fellow artist Francis Bacon, who suggested that his friend poet W.H. Auden write about him. (https://en.wikipedia.org/wiki/Leonardo_Cremonini)