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Biography
Nuccio Guido began his career as an artist in 1970 , following in the steps of painters who in that particular
period represented the Amantea artistic scene , namely Mario Aloe ,
Aldo Carotenuto , Francesco Furgiuele , Michele Sconzatesta and Nando Turrà . It was precisely Turrà
's art and technique that struck Guido 's imagination .In fact , his first paintings imitate Turrà , his
model and master . The deep friendship they later struck up , Nuccio 's longing to paint and the appreciable qualities
of his first productions , induced the already well - established master to advise him to continue a constant research
to acquire a personal style and colour technique in order to get away from previous models and highlight his own
capacities . Thanks to this advice , followed with great intelligence
and modesty , the young artist soon acquired a unique style and gave a taste of his
potential .
In 1972 he moved to Portofino where he came into contact with Ligurian painting :
Wilna Traxino , Novella Parigini , Alberto Guerri , the sculptor Edoardo Ceccardi , the
watercolourist Guido Gagliardi , the French artist Jean Paul Denis and Natale Autelitano
are the artists who Guido constantly frequented , developping with them a deep and
fruitful friendship .
During his ten years spent on the Ligurian Riviera , Art Critics soon highlighted this young
Calabrian artist 's talent .
Guido 's works are , in fact , present in a great number of collettive expositions in the most
important Italian Galeries . It was during these occasions that he met the Master Treccani
who , bewitched by the quality of his paintings , spurred him into intensifying the work
he had begum . By then the dark colours , the burnt umber , the ochres of the first period
and the monochrome taste of his second period ( dominated by green ) were substituted by
pastel tints , which give an almost watercolour effect.
It is most surely the beauty of landscapes and Gagliardi 's particular influence that "capture "
the mind and the taste of the artist . He uses a mixed technique , specializing in a sort of
graphic - pictorial effect in which yellow , green and light blue are the predominant tones .
The choice of his new palette is not random , but it is the natural and logical product of
his new habits : he starts work , at daybreak , " en plain air " . These new habits make it possible
for him to meet the Painter Michele Cascella , well on in years , but still seated
in front of his easel at daybreak , creating his dreamy landscapes .
The presence of a great artist and the transparent colours of the early morning acted as
stimuli on Nuccio , who did not miss the opportunity for taking from his new Master the
secret of an " impasto " or the choice of a tonality when , with expert hand , he was busy
" narrating " his paintings .
His friendship with Cascella ( They often met at Alberto 's , a barber 's shop at Portofino )
and the extremely positive judgements given by the Master on his work were a great
stimulus for Nuccio Guido .
It was during this same period that specialistic reviews and Art Catalogues took great interest in Guido 's painting.
The real achievement of our Calabrian painter took place at Ferrara , when he was awarded
a prize with Remo Brindisi .
His foreshortenings full of ruins pregnant with history , his transparent seascapes , his still
lives , his watercolours and ink drawings are " tales " executed with delicacy , almost ethereal and
impalpable ; the tones are soft like a morning breeze on the Ligurian Riviera .
After his experiences in Liguria , he returned to Amantea , for he still had a deep sense of his roots . Here he
continued working with great fervour and , thanks to his maturity and experience , gave proof of his art producing
a fresco in the tiny St. Joseph 's Church .
His works are now present all over the world : from the Florentine Gianca studio to the Art Show Trade of New York
and to the Artexpo California in Los Angeles .
His return to the South modified neither his sensibility nor his choice of themes , nor even the artistic style
reached in Liguria . He continues having a preference for " en plain air "
painting , but his palette , still clear and fresh acquires a " Southerness " of its own , becoming more
incisive in his use of chiaroscuro ; the brush work is less affected and more vigorous , but is always clearcut
and essential .
He has now reached a synthesis that is both technical and chromatic so as to hold , without shadow of doubt , a
position of prominence in the national panorama of contemporary art .
Salvatore Sciandra
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