Tuscany has long-attracted artisans and creative denizens to its plentiful landscapes with seductive promises of the perfect vistas and illustratively intoxicating panoramas, yet for one man it was less about the journey and more about what he had on his doorstep. Rather than answering a call or setting off on a creative pilgrimage to the foothills of the famed Tuscan region of Italy, acclaimed contemporary landscape artist, Bruno Tinnuci didn’t have as far to travel as many on their very visual odyssey. No, Tinucci was a native of the region having been born in Livorno in 1947. However despite having a wealth of stunning landscapes within his radius, Tinucci never took this feast of compositional Eden for granted, nor grew complacent with the landscapes riches at his beck and call.
On the contrary. Tinucci was as passionate about his immediate environs as anyone, which is probably why over the years he’s referred to as ‘the artistic voice of Tuscany’, which is quite the accolade. All the more of an impressive achievement on learning that the hugely popular artist is a self-taught one at that, and only ever turned to brushes and paint by chance. That chance, that awakening to art if you like came about in 1969, when, as a 22-year old he spent a few days in hospital and bore witness to a painting which struck him. Akin to the sort of cathartic moment people often talk about when they suddenly see the light at a juncture in their lives. The light in Tinucci’s case was the aforementioned painting, crafted by an in-patient that literally stopped him in his tracks that day.
Tinucci describes it as having a ‘bright sparkling idea lighting up his soul’, yet however this inspiration manifest itself there’s one thing for certain, it instigated Tinucci’s fascination with art, which soon after was followed by love and indeed, passion it would seem. Before long Tinucci was transported into a brave and exciting new world, predominantly populated by lights, shadows, colours and visions he’d not been privy to previously. As he’s sure he would have remembered, right? Seizing the initiative – and knowing that he simply had to paint from that moment onwards – Tinucci was overwhelmed with ideas and concepts, yet channelled these unfamiliar, almost alien thoughts into the one area from the outset.
Firstly Tinucci had to familiarise himself the works of the most famous painters from his native Livorno region, in an attempt to get into their skin and discover just what perspectives they viewed this spectacular countryside from. Yet at the same time, Tinucci was acutely aware that he had to develop and hone his own particular style and artistic identity before he got too carried away with it all. According to Tinucci’s initial works, it’s patently obvious that he took on board the natural-aspirated artistic tradition of Tuscany and was starting to nurture and evolve his own take on the ‘Livornese’ look and pictorial ambience, which was starred as a crucial part of his armoury from an early, decisive stage.
Tinucci considers himself a restless painter, one who’s prone to run riot with hues and saturations if left to, yet with the equal awareness and capacity to reign himself back in again. His signature pieces are graphically festooned with vivacious coloured garlands, instantly identifiable as strips of Tuscan landscape, the pitting of distant, decidedly rural dwellings and a colossus of energizing detail and vibrancy. Just enough of both though, you understand. Tinucci fervently believes that each and every brush stroke permeates from the inside, insisting that his paintings brandish a heartening soul and pictorial purpose, and few would argue against this assertation on running the rule over his heightened pictorials. Tinucci maintains the rich and vivacious Livornese artistic tradition passed down through generations of its local painters, and regularly uses both figures and a gamut of colour swatches, applied in a modern style to achieve this end.
Conversely, and at the outset of his painting career, Tinucci would readily claim that his paintings didn’t attach much importance to the subject matter found within, and he would often quip that; “A masterpiece can be born with only a blade of grass, colours enliven the paintings afterwards”, adding that; “The message inside the painting is important. Important is the contest where these message are laying”. However as the years have panned out, Tinucci has reached an important artistic maturity, and after half a century, not out, he still harbours the inner strength of mind that he effortlessly interprets on his canvasses.