Domenico Gnoli (Rome, 1933-New York, 1970), believed that “everyday objects, enlarged by our attention and care for them, are more important, beautiful, and terrible than any invention or the imagination that created them”.
Gnoli was a painter and an illustrator, with frequent collaborations with American and international magazines such as “Holiday”, “Harper’s Bazaar”, “Life”, “Fortune”, “Sports illustrated”, “Time”, “Horizon”, “Queen”, “Mademoiselle”, “Charm”, and “The Paris Review”. He is now pinpointed as a forbearer of Hyperrealism, with many critics noting his relationships with Pop Art and the Metaphysical Art of Carrà, De Chirico, and Morandi.
From the 1960s, the Roman artist started focusing on a universe of objects taken out of their context, observed simply in their specific details: minutia from garments, tables, beds, ironed shirts, people’s hairdos. He painted all of that with a special combination of acrylic paint and sand (which does not leave brush strokes), on monumental, huge canvases.
Everyday objects, according to Gnoli, “say more about me than anything else. And fill me with fear, disgust, and enthusiasm.”