Amedeo Cianci



Oil on canvas
70×100 cm


Oil On Canvas
130×160 cm


Oil on canvas
100×150 cm


Oil On Canvas
100×150 cm


Oil On Canvas
120×140 cm


Oil On Canvas
70×100 cm


Oil on canvas
70×100 cm


Oil on canvas
150×150 cm


Oil On Canvas
120×150 cm


Oil On Canvas
130×130 cm


Oil on canvas
100×150 cm


Oil on canvas
130×130 cm


Oil on canvas
100×150 cm


Oil on canvas
95×95 cm


Oil On Canvas
120×140 cm


Oil on canvas
100×150 cm


1985 Personale Poggiardo (Le)
1987 Centro Culturale Scorrano (Le)
1988 Centro Culturale Scorrano (Le)
1989 Otranto (Le)
1989 Personale Galleria Capccc Maglie (Le)
1991 Personale Galleria Capece Maglie (Le)
1992 Personale Galleria Spazio Arte PG
1992 Personale Gall. Colazzo Galatone (Le)
1993 Personale Sala Comunale Casarano (Le)
1994 Collettiva La Galleria Poggiardo (Le)
1994 Collettiva Gall. S. Simmi Roma
1994 Collettiva Gall. L’immagine Lecce
1994 Personale Sala Comunale Casarano (Le)
1994 Personale Castello Gallipoli (Le)
1995 Personale Castello Carlo V Lecce
1995 Personale C.S.Tamborino Maglie (Le)
1996 Collettiva Gall. Maccagnani Lecce
1996 Collettiva I.G. Italiano Milano
1996 Collettiva Arte Fiera Padova
1996 Collettiva Miart Milano
1997 Collettiva I.G. ltaliano Milano
1997 Collettiva I.G.I. Arte Fiera Bologna
1998 Collettiva I.G.I. Arte Fiera Bologna
1998 Personale Gall. Les Mouettes-Ginevra
1998 Personale Fiera del Levante Bari
1998 Personale Galleria Dulack Lugano
1999 Collettiva I.G.I. Arte Fiera Bologna
1999 Collettiva I.G.I. Arte Fiera Padova
1999 Collettiva I.G.I. Arte Fiera Vincenza
1999 Personale Artistika Galatina (Lecce)
2000 Personale Capricorno Art Gallery Capri
2001 Collettiva Arte Fiera vicenza
2001 Collettiva PicmaAr-re Verona
2001 Collettiva Capri Art Gallery Positano
2002 Personale C.D. Studio Padova
2002 Collettiva Gall. Perriarte Pal. San Giorgio Campobasso
2002 Collettiva Gall. Perlini Arte R. Calabria
2002 Collettiva Capri Art Gallery Positano
2002 Collettiva Capri Art Gallery Capri
2002 Collettiva Capri Art Gallery Palm Beach Miami
2002 Collettive Picna Arte vicenza
2002 Collettiva Capri Art Gallery Miami
2003 Collettiva Picma Arte verona
2003 Galleria Micati Giulianova
2003 Collettiva Capri Art Gallery Palm Beach Miami
2003 Collettiva Galleria Zodiaco Licata
2004 Collettiva L’Artistica IISalotto dell’Arte Genova
2004 Collettiva Picma Arte Desenzano
2004 Collettiva Picma Arte Brescia
2005 The Armony Show Galleria Behr Thyssem New York
2005 Collettiva Galleria Behr – Thyssem New York
2005 Collettiva Galleria d’Arte Perlini
2005 Collettiva Arte Fiera New York
2005 Collettiva II Salotto dell’Arte Genova
2005 Collettiva Capri Art Gallery Ravello
2006 Collettiva Capri Art Gallery Capri
2007 Arte fiera Padova
2008 Arte Fiera Genova
2008 Arte fiera Padova
2008 Collettiva Arteetempo Crema
2008 Collettiva Galleria D’arte Sangiorgio Portofino
2009 Galleria D’Arte Zodiaco Licata (Ag)
2009 Galleria D’Arte Colazzo Galatone (Le)
2009 Galleria D’Arte La Pietra – Arte Fiera Genova
2009 Galleria D’Arte La Pietra – Arte fiera Padova
2009 Galleria D’Arte La Pietra – Arte fiera Brescia
2010 Personale Galleria Picma Arte – Verona
2010 Galleria D’Arte Colazzo Galatone (Le)
2011 Personale Galleria Barbarto – Scafati (Sa)
2011 Personale Galleria Arena – Reggio Calabria

2012 Personale Artetika Palermo
2013 Colletiva ArtGallery – Otranto (Le)
2014 Galleria Barbarto – Scafati (Sa)
2014 Colletiva ArtGallery – Otranto (Le)
2015 Colletiva Chiostro San Francesco – Licata – Galleria Zodiaco
2015 Arte Palazzo Mezza Capo Maiori
2016 Luci sull’arte – Palazzo Frucione – Salerno
2016 Arte nel Palazzo Mezzacapo – Maiori
2017 Galleria Amendola – Amantea
2017 Colletiva Art Gallery – Catania
2017 Arte nel Palazzo Mezzacapo – Maiori
2017 “Five” Artecontemporanea Catania Art Gallery
2017 Galleria Orlando Arte – Brescia
2017 Colletiva Arte Contemporanea in Villa – Villa Mazzucchelli – Brescia
2018 Collettiva di arte contemporanea “Di Luci e Colori” Catania Art Gallery.
2018 Colletiva “ La Bellezza è fragile” curata da Angelo Crespi. – Santa Marina Salina – Isole Eolie
2018 Galleria Orlando Arte – Brescia


Thinking of asking in front of a painting and consider it as a simple and objective reproduction of reality, is certainly naive.
The choice of a subject, the point of observation, the variety and harmony of colours, the use of brushwork, dynamic or lazy, the drafting of fluid colour, transparent or opaque, all contribute to the creation of a work inseparably always subjective and relative.
The natural talent, the historical reality, the cultural and geographic area in which the artist work, his training and his technical knowledge, all this hold a key role in the developing of his work.
Amedeo Cianci was born and lived in Salento: a land permeated and filled with nuances that we can find protagonist of most of his prolific production. The image that the artist most often paints is a singer of the landscape.
The simplicity, the quiet harmony with the universe speaks through most of his works.
Here come to life in front of our eyes meadows with a riot of colourful flowers towering, swaying in the shade of secular olive trees. Here appear, again, views of sea cliffs, or cornfields, interrupted here and there, by dry stone walls and views of white houses in the distance. Almost deserted streets of small village in Salento give us the perception of a property over time and space.

The choice of colours and tints delicate, vivid and bright; the features defined but not too much; the brushstrokes strong and calligraphic create an atmosphere of a strong symbolic aura that puts us almost in one dimension and communion with the Arcadian nature God.
The path of Amedeo Cianci, like all great artists, is characterized by a continuous stylistic evolution and a constant growth. The more recent productions are affected by new yeast.
The vocabulary becomes more mature, the palette is cool and the scene loses precision, but it becomes concrete material and new energy.
The image is free of the limits of the line, of the perimeter that concludes the forms. Objects come to life thanks to patches of colour; every brush stroke becomes a sign and a design. The colour is freedom and nature is full of an evocative power.
Is the artificial and the human element that takes shape in this latest phase of art, where is predominant the interest in living spaces and in lived “corner” of life.
An infinite horizon of houses and roofs, “claustrophobic” crowded, taste almost unreal and dreamlike, perhaps the artist translates a vision of reality more chaotic and hectic, so that total loss of sharpness and proximity.
This new implementation of mankind becomes a plausible link with the American painting, so seemingly far from the simple life of Salento.
Here we are, in fact, plunged into the hectic, dynamic city life of the United States.
The palette is enhanced by shades of gray, the strokes become even faster and more energy and the choice of subjects and particulars is designed to metaphorically suggest the idea of the American dream, a society full of movement, speed, progress of work and opportunities. But beyond the words spoken, countless reflections done and the one that could still be done, what remains is certainly the subjective vision of Cianci.
Thinking that we can grasp the full meaning of every artistic choice could be again, a naïve

Daniela Fiorentino

“Flower from I don’t know where
I can’t even say their names
In the tenderness of love
Endlessly spread by gardens and gardener”

I’m reading these lines by Lucien J. Engelmajer and I feel them vibrating on a bright,
vital painting by Amedeo Cianci.
Expanses of daisies and poppies in the disconcerting beauty of their lively chromatism;
a hymn to life and the joy of exsting in the Salento sunshine that heats, lits up, gives
throbs; a deep serenity wins your heart. A sincere emotion is revealed for all that
is alive and real: a flower, a blade of grass, the cobalt sea of our land looking like a
ribbon in the distance and flirting with the blue sky on the horizon.
The freshness of his pictorial stroke, his exspressive spontaneity, his great love for
our Salento make his sunny art a pleasure (a pleasure to be enjoyed thoroughly
and slowly) that makes you love a little more and feel the poetry of little things,
deep in your heart. His masterly strokes are always highly significant Soul plunges
into the poppy in bloom, in the little violet grown up shy and yet beautiful emong
giant flower, in the white and yellow daisies.
Drops of light in the sky write hymns, in all languages, and wind makes flowers and
grass wave without disturbing the enchantment, even renewing it with its lively
The Salento landscapes Amedeo Cianci paintson canvas, by a mixed technique,
are a hymn to colour and sun while his watercolour paintings are a tribute to
Salento and its balconies full of flower, to its courtyards and boats.
Amedeo is great when he paints in guache as well as when he masters the clearness
of light.
He loves the light and the summer sun that fills people with joy and stupefaction.
You can see some views of Salento plunged into the summer afternoon heat,
when the sunshine beats on the walls and shutters are closed for a little shade.
Nobody and nothing in the streets; only flowers on the balconies and the washing
hanging out in the sun.
Amedeo’s paintings well give the feeling of the stillness and heat of July and August
afternoons. Life is still in an imfathomable dimension, an unbounded silence cover
the landscape.
Lost in the flowing of the artist’s strokes, eyes are unable to withdraw, enchanted
by the Salento dreamy aftermoon atmosphere.
In Amedeo Cianci’s work you can breathe a perfect armony of things.
His inner happiness becomes palpable joy for the spring renewal and the intensity
of summer colours; and you fall in love with life once more.

Maria Pia Romano

The story of Amedeo Cianci starts with the discovery of one natural propensity of his to the sketch and the color. I want to say that still in the school, of the work, of the artistic awareness there was him the taste and the sensibility of an instinctive adhesion to the lights and the forms of a landscape from which it felt him pervaded and almost smoothed as pebble terragno from the healthy waters of the October rains. From this to feel himself/herself/themselves in the natural and human landscape the painting is born. So then of what he has done has not been so much a to express that feeling, how much a to narrate that sensibility in way to make her/it able to contain every possible gradation of tones every pompous extension of colors.
For you Chatter, in short, the contents are pretexts for operations of pure calligrafismo coloristico; their
reversibility is such that he can spend from details landscapes, from indefinite spazialità to turned on concentrations, provided that the pencil finds its natural relaxation and creates from herself its equilibrium of dream and vibrations, its aesthetical harmony. Only for this confidential abandonment, for this joy to get drunk himself/herself/ themselves you Chatter you/he/she can transmit the miracle of his/her generous happiness. That is, the work is the culture they don’t represent a diaphragm, a filter but a tool of the expression; they lives out of every deliberate planning, for creative energy of the same landscape, which imposes from if one his/her technique and almost one expressive law of his.
This way the mere figurative also loses his/her contour of raw realism when the occasional reference is faithful. In fact the strength of the reality finds its ransom in the elementary chastity of the form, so much adherent to the seminal idea of its offer to be seemed the soul of the landscape its spiritual dimension,; and so also in the ideal foreshortenings of the lawns and the in bloom ones in color, it crosses fundamental
in the connotation of the picture, it is weakened up to the point by to cancel every dryness in glorious summers salentine and to leave around if halos of indeterminateness that introduce to amazed once of attended forever firm in the mind.
From this, the predilection of the finally, Chatters for the water-color, that allows him these new effects of the damped color, these languors of a sweet gradualness, without forcing to abdicate him/it that understood policromia that represents the end point of a disposition and irrinunciabile visual harmony.

Prof. Donato Valli

As a French Impressionism inspired painter; Amedeo Cianci represent nowadays an important link of painting to the figurative-realist one. In my opinion, Cianci is the force of the new painting movement which, within a ferw years, could remove from painting all strange abstrusenessees and adventurous pretentiousness of the last 25 years many pictorical streams.
lt wouldn’t be a flash-back to the past, as someone could think, rather than it would mean greater artistic arwareness, finding out the true painting agoin because we can’t forget thet the real painters are the realistic ones; so, it would be new pictorical Umanism which should give many good fruits to the future Art.
I’ve seen, in hir atelier in Poggiardo, landscapes from Apulia, corn fields, olive trees in a raw surrounded by big spots of blooming poppies, wide plains, sea foreshortening with softly sloping hills in bloom. His landscape characteristic, with a lot of even high blades of grass, often makes us feel inside the landscape itself; we are bent on the countless blades of grass, while it rises towards us with its mysterious and deep breath, thal, if we could really drop our glance on it, we should say, according to Baudelaire,…. to be
aurselves absorbed “dans I’inconnu pour y trouver du nouveau”. Indeed we find – on the landscape plains of Apulian folds, in Salento’s countryside with golden corn – the true pictorical expression of Cianci who can’t be called “primativista” and can’t be considered indipendent from a pictorical vocation that rises from the oldest man’s emotion (the nearby emotion), fron the feeling, and the from the depth of the artist’s existence; besides, this emotion is made of contemplations of rural world of Nature Mother which is the beginning of everything: of our own existence, too.
This painting, rich of sensitive landscape painter’s feeling, is, in a very simple way, only Iyric in order to make the painter’s message easier for the painting’s user.
In Cianci’s landescape opinion everyone should be able to experience the eye message, the delight of the colours and to have the inner rush to be thrown within the distances: from the immediate picture’s “tocus” to the horizon closing the landscape space.

Remo Alessandro Piperno

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