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Biografia


Daniela Cappiello is attracted by the beauty of vegetation. If the subject is the wood, we cannot escape from the images she creates.
Maria Grazia Chiesa autumn 1997


Daniela Cappiello was born in 1978. She is exhibiting since 1991. The accuracy of figuration markes the pictorial technique she learnt reproducing classical works of 400, 500 until 800. In the representation she developed a language to represent facts and people of her times without ignoring daily objects and situations.
Stefania Corazzini December 1997


When a young artist asks to show his works, two things have to be considered: the intrinsic creative quality and the force that leads him both to paint and to face the suffering caused by an exhibition: the contact with a changin public, criticisms, the possibility that the exhibition leads nothing. Daniela Cappiello claims to be considered as an artist. She is not afraid of difficulties such as great distances, the refusal of displaying her works or the unknown reactions that arouses from her paintings in different places and cultures. This burning desire leads "The Artist" to obtain positive results: every exhibition (this is the 4th I prepare for Daniela) displays new elements, her new interests and knowledge reflected in the way she portrays herself through the art. Starting from Daniela's earliest works shown in Bergamo, where she described the femine world with great care and sensitivity, passing by the still life of Bologna and the flowers of Torino, now "The Artist", facing the masculine figure, proves to have attained a new balance between shapes and colours.
Maria Grazia Chiesa sentember 1998


Between Orace's satyre and a Platone's thought, between a simple or a quadratic equation and a chemistry formula, D.C. paintings sprout. On the desks of O.F. classical lycée she finds the inspiration to enchant with her colours and her paintings representing faces. A simple but careful way of painting. Simple but complex paintings, suggested by philosophers of life and by crackling observations of fresh, young, exuberant sentimentality. She is circumscribed in these notes. The impression and the greatest relief are that of a mature representation for others translations and exits. A classical culture, full of Greek and Latin classicism in other terms Mediterranean. A painting that is culture and that makes culture. A painting to be respected if you consider when it has been produced. Its maturity is astonishing. It's possible to imagine an evolution in the expressiveness of the artist. Dreams are allowed too and dreaming is not impossible at twenty especially when painting reveals great care in the output and confidence in the creation.
Don Pedro from Puglia 1997


Daniela Cappiello, a self taught twenty-two girl, with an innate talent and many hopes, approaches the artistic world with a rich store of paints that express her green but strong desire of making art. A classical line of paintings which echos her studies at lycée. Among naif and hyper realism, on dark and regular backgrounds lightened (here and there) it can be found her handwriting. Colours are intense, solar and definite even when she uses the watercolour technique as for the flowers, a great example of style and chromatism. Sunflowers, seen in the field of Toscany, are painted among the others and all their petals are identical thought being different from the famous sunflowers of V. Gogh both in technique and poetic. The young Cappiello is finding her own way after having copied the greatest Ranaissance painters, as shown by that ancient patina of her works. So, even in the luxuriant field of sunflowers, it can be seen an ancient femine figure dressing a broad - brimmed hat and romantic garments. It's more an oneric apparition than a rappresentation of real. Nevertheless, in the sea of tranquillity of colours, there's an introspective temptation embodied by "L'occhio del girasole" ( The sunflower's eye). The centre of the flower, its seeds that are its fruits, is circular as blood - cell. It seems like a magic eye looking at you. But among this traditional subjects there's the portrait of the rock star Michael Jackson. A mixture and sequence between posters, comics and publicity: that's the work of Daniela who is always attracted by her favourite subjects.
Bari, Bianca Tragni March 2000


" In the game of the transparencies her love to the old Bari spreads out" "While she is still doing some researches on iridescences and on the feminine beauty, she is also preparing a great exhibition on the most suggestive places of the ancient suburb, as it was at the beginning of the 20th century". Since Daniela Cappiello was young she has always been familiar with pencils and crayons. I-Ier family has always admired her timid and continuous raids in the world of the art. As a matter of fact, her drawings were sold like hot cakes between friends and relatives. Unfortunately, because of these successes " intra moenia ", no testimony of her artistic infancy remains. It is Daniela herself who talks about her memories, who tells us about her passion which blew out when she was a student. She remembers also that her first experience as copyist relates to the ballerina of Degas, but she explains that she was already interested in cartoons in order to give her point of view to those characters. I-Ier point of view'? Yes, because even while copying the new artist often added something personal, a surplus value known as personal artistic fair. It is well evident in her studio in Bitetto, where we can admire both the results of her researches and the paintings she is making for the exhibition "Bari com'era". So we can see the clear iridescences of a jumble of glasses beside a queen of the ancient Egypt, famous for her beauty: Nefertari. ln another painting two foregrormd horses of crystal paw the ground in a luxuriant forest. As Daniela explains, they represent the etemal struggle between Good and Evil. Finally, a romantic mix of colours that remembers the "nuances" of the rainbow with a thin touch of nostalgia: it represents the Strait of Messina Bridge that is about to be built putting an end to the isolation of the greatest Italian island. Besides, there are pictures of the old Bari, with images representing the medieval suburb. There are also splendid architectures as the plaza of the Seat and that of the Infamous Column, but in all the foreshortenings the man is missing. Daniela deliberately banishes the human being because, on her opinion, he, and just him, is the responsible of the today's urban breakdowns.
Vinicio Coppola May 2008


Critical review by Carlo Franza on the occasion of the exhibition "E' sempre rapido il volo del sogno" Daniela Cappiello is a young Italian painter who lives hard her artistic job in a crescendo of Iightlngs which are able to give back new signals to the figure. It is not properly realistic if not in the construction, but it gravitates in an unexplored space where imagination grows in a game of instincts and nostalgia. The contemporary traces, landscapes and memories, become unreal glows, daily stories where memory is mixed to emotions up to lose itself in an endless fairy tale, in an emotional fever where the pastel heat reinvents itself and changes its colour in a timeless flowering. A magic realism that draws on the jumble of the images of life which flows and invades the inner creative part where the act of creation explodes. Every subject nourishes with the painter own taste and colour, and even certain pop subjects suggested by transnational icons laid out works of inimitable suggestions, of fantastic game, of capital importance to frame the phenomenon. In Daniela Cappie||o's works, technical solutions and an ever-growing inventiveness live together, but it is the communicative quality of the vision and the visual language, that always experiments the beauty of the world calling up to meet it, that endures the most.
Mr Carlo Franza Historian and sociologist of the arts Journalist Critic of art of Libero (Italian newspaper)


DANlELA CAPPIELLO AND THE RHYTHMICS OF THE COLOUR SHADES OF LINES Critical review Edited by Sabrina Falzone Fragile atmospheres, softened in a languid game of tonal passages and in a suggestive marriage of crepuscular ambivalences, appear as the unquestionable protagonists of the pictorial story of Daniela Cappiello, an Apulian painter particularly sensitive to the rhythmic of colour. The temporal dimension is altered by soft chromatic changes outclassed by the melody of the Iineumentum, which is always sober and solemn at the same time. Time puts itself between the fluent and forceful poetry of the line and the emblem of the dream. Every canvas of Daniela Cappiello is intended to deeply investigate the oneiric experience by transposing the objective reality toward a surreal destination, marked by existential traces. The artistic language of the author on one side offers us a specific and inner universe of apotropaic feelings while on the other it leads us toward a deceptive end of the line lying above reality. So it creates a psychological link with the inner painting and augurs escapes from the daily life to find again new and hilarious glimmers. In the pictorial works of Daniela Cappiello brightness plays again a fundamental role from the symbolic and executive point of view shaping the magic landscape, inspired to a dialectical comparison with the Nature and its several forms. The sweet and soft light constitutes a strong point in the painting of Cappiello which is able to lead the mystery of the life, the enigma of the day and the essence of the memory at the height of expression.
Sabrina Falzone Critic and Historian of the art - www.sabrinafalzone.info


Between clarity and enigma An exhibition of a young painter coming from Bitetto near Bari, Daniela Cappiello, takes place in these days at the base of the Tourist Association Pro Loco in Santo Spirito. Her biography speaks about a cultured woman, prone to the art since she was a child. She has a liberal education which can be easily caught in her works, Nevertheless the maturity and the quality of an artist are the summa of her personal and professional experiences, of her overall personality, of the inseparable binomial art/life. if her early painting is made of copies of the great teachers from the ancient art to the modern, this is not to be considered as a limit. Far from it. Many artists of the past - and among these the impressionists such as the great Monet- had also started to learn painting reproducing works in the Louvre of the great teachers of the Italian Renaissance without reserve. Maybe it is through this fundamental exercise that our painter learned the pictorial technique that she is nowadays able to master and that allows her to range over different themes and stylistic expressions as still life, landscapes, portraits. Nevertheless, one of the keys to the reading to understand the sense of the artistic research of our painter is Hrst of all the need to make recognizable shapes and colours. it results in the clearness of graphic and pictorial images which allow us to cheer up ourselves in the chaotic and misplaced universe of the contemporary art. Maybe it is what we need: to reassemble a reality gotten off by a certain criticism of self-celebratory and self-referential art. We need to focus on something since we are astonished and disorientated while facing with an art that frequently becomes a mere intellectual exercise or an attempt to astonish and to surprise. It's an art that also denies itself with the need of infusing values as if they do not exist anymore or that they may remain unsaid. An art that does not talk to the heart anymore, nor it satisfy the senses in a sterile gratification of its own troubles. Here Cappiello gives life to a painting that does not pursue sterile innovative intellectualisms aiming at aesthetic decay, but she is able to speak to the heart, to the senses and the intellect. Figurative art, therefore, but beyond the banal enchantment of the image and the simple visual or aesthetic pleasure. Indeed the interpretation of her works, even if figurative, is not easy. Finding a meaning in Cappiello's paintings is an interpretative adventure that oscillates between clarity and enigma. She does not describe: she evokes. She does not represent: she suggests. A painting that contains meanings, feelings and pathos and that nests in a symbolism that hides first and reveals then. Many of her pictorial compositions are shiny visions between dream and reality which are therefore inserted in a sort of superior reality, the surreal Breton, the main theorist of Surrealism, used to speak of. ls this art a dictation of the unconscious? Or the inquiring self that wonders about the mysteries of being? It is both, as if the painter wants to open a window on the existence of human beings, not to let us see but just to let glimpse, in the semi-obscurity, the very free and true world we harbour. As a matter of fact, we do not forget that the space of the dream, of the imagination and of the unconscious fit neatly with the space of liberty, indeed, of liberation. lt is not accident that, one of the works of the painter, "The dream of Ulysses", refers to this idea. Ulysses who travels in the time and in the space, the eternal Ulysses who lives in us, the Ulysses who first of all is in search of himself. So, in Cappiel|o's canvas, the symbolism that at times appears on the surface mixes with the concreteness, in that game of sudden visions as if they were delirious shines; visions that are inserted in real and identifiable environments. lust as the Symbolist poet lsidore Ducasse stated: "Beautifu| as the chance meeting on a dissecting table of a sewing machine and an umbrella", referring to concrete and recognizable objects which do not correspond with themselves and with the environment housing them. It is really this the semantic bump that we perceive when seeing many of our artist's paintings, such as "Beauty and transparency", "The eye of the sunflower", "The swan" or "Transmigration and provocation".Therefore the images run after each other in games of transparencies, absorbed in luminescent waters, I pictures made often of crystals or opaiescent material, as in the painting "The expulsion from Heaven" ......
Rosalba Fantastico of Kastron Art History Teacher, poetess, writer

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