Depersonalization with Euphoric Touch by Gnoli

Domenico Gnoli (1933-1970). Source: Google

Fashion is a manifestation of a visible result achieved by means of an invisible process. It is about ephemeral nature of objects and details, meanwhile art is about eternalising such ephemerality.

Domenico Gnoli (1933-1970), a Rome-born-artist, a son of an art historian and an artist, was one, who combined those two phenomena. He both created ephemeral objects, being irreplaceable attributes of the fashion industry, on canvas and eternalised them as art pieces. Thus those will now never go out of fashion.


Domenico Gnoli’s “Red Dress Collar” (1969). Source: Google

Possessing a great ability of finding significance and beauty in the everyday objects, he left us with “Black Hair”, “Fur”, “Central Partition”, “La Robe Rouge”, “The Shoes” and many other art pieces.

Domenico Gnoli’s “Black Hair” (1969). Source: Google

At Christie’s his painting “Black Hair” was hammered for GBR 7,026,500. Domenico Gnoli was a brilliant artist of his time, who has misleadingly been associated with Magritte-style Surrealism. His paintings do not contain any irrational juxtapositions but they are dominated by objects such as hair, a collar, a bath tube, a female neck and a shoe sole represented either in whole or in detail.

Domenico Gnoli. Source: Google

Domenico Gnoli’s “Busto di Donna in Rosa” (1966). Source: Google

The main message of his art is the depersonalization of human beings, where human beings and details simply exchange their places.

Domenico Gnoli. Source: Google

You can easily feel his fascination by the materials and patterns which are expanded in monumental proportions, where human being is merely a tool to demonstrate the latters with. The feeling you experience is similar to the one you feel while beholding a beautiful pair of shoes or a coat of an incredible craftsmanship.

Domenico Gnoli. Source: Google

The most of the paintings were painted on sandy textured grounds giving all the details an additional intensity and creating a feeling of subconscious closeness to the object. The absurdity of the moment is that the inanimate object on canvas euphorically touches you on the depth of your personality. Isn’t it the same kind of euphoria as the one that fashion keeps us addicted to it?

Domenico Gnoli’s “Chemisette Verte” (1967). Source: Google

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