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BIOGRAPHY Born in Pavia in 1931. Fascinated by paints since
childhood, he eagerly devoted his efforts to them as though driven by a form
of instinct. At seventeen, already having mastered the technique of oil
colours, he turned his attention towards an impressionist style, the fruit of
impetuous brushwork and youthful enthusiasm. He often makes use of the
spatula. In the meantime, he studied both classical and modern painters, but
he remained fascinated by the spirit of the Nineteenth century, the Tousled
School (the Scapigliatura) and the Macchiaiolo style. During this
period his subjects are varied and multiple in nature: from the wild beauty
of horses to the sarcasm of the clown, from sketsches of landscape to very
broad views of the countryside of Lombardy. But his painting
evolved. From a crude impressionist style he slid towards a more refined
technique that, at present, is nearer to the realist style of a Courbet than
the impression of light that is a Monet. His drawing has become more marked,
more secure and decisive. The colour is more plastic, more realist, to the
point of taking possession of the work itself and communicating the emotional
tone of the picture. Contemplation, solitude, nostalgia, meditation, all is
expressed more with the colour than with the subject. Fiocchi, as a good
Impressionist painter, makes use of sensations of light to a great extent,
filters them through his spirit and translates their effect onto canvas. In 1965 he
was one of the founding-members of the Pavian Free Painters’ Association
(L.A.Pi.Pa.). He organised collective exhibitions and proposed artistic
initiatives in great variety. With his Bohèmian artistic personality,
he won over both critics and the general public. Pavia, his
dearly-loved city, has urged him to a great many works, reappraisals of the
old quarters of the town, a close analogue to his life as an artist for him.
Tottering houses, old buildings, crumbling alleys, old things from which his
artist’s animus draws poetry in their solitude and when contemplating them. But his
colours seem to be galvanized when confronting nature. The fluvial landscapes
of Fiocchi are fashioned in hues that are full of gentleness, concurrently
real as regards the exterior world and his inner state of being. The skies
full of cloud, typical, in fact, of the Lombardian countryside, reflect his
melancholic spirit, that very spirit that blossoms from the minute description
of alleys or sporadic portraits. Fiocchi is a poet as regards colour, a
modern man dressen in the Nineteenth century fashion and who still possesses
love for nature and the environment that surrounds him. |