Analyzing some of Giovanni Giannini’s works, I notice the preponderance of lively colours; the red of Saint Peter’s background is, in my opinion, a colour that represents love, while the blu mixed with white is the colour of hope.
In the “First kiss” of angels we can find instead a dynamism that prevails in almost all of the artist’s works. Angels are pure and immortal, but at the same time erotic in the positive sense of the word, that is affectionate; this can be noticed in the fact that their kiss is not complete! It’s just a hint and it’s innocent. The sky blue in the background is the proof of the optimism rooted in the artist’s soul.
The portraits of his children as babies are proof of a strong paternal love that he’s been giving them all his life. The portrait of his daughter Claudia is his own personal interpretation, because he portrays her as he sees her, as a fancy lady from older times.
In the painting “Roman Spring” depicting a girl wearing a big hat, we find well-distributed tones which produce a wonderful effect. For this reason I consider Giovanni Giannini a “verista” and impressionist of our times for his beautiful and lifelike colours.
This characteristic can be found especially in the portrait of Padre Pio that is even photographic! He can faithfully reproduce on canvas his forehead wrinkles, representing all the passion and greatness of the Saint, showing a big admiration for him. In this painting, the artist places Saint Peter’s Basilica in the background, that is the most beautiful church in the world as for its excellence, using tones of yellow and orange that all painters have been using from the start to express eternity and santity; it’s not a coincidence that yellow has been used since ancient times to express divinity, like in oriental and Egyptian paintings.
In Sunflowers on the other hand, the tones of yellow express brightness but in a totally different way, the brightness that is rooted in the artist himself. Reproducing the sunflowers by Van Gogh, he interprets them in a totally personal way, taking only the subject from it, and using green for the background in all its possible shades to represent the tranquility and the softness that is conveyed to us by the splendid nature!
The portrait of Franco Battiato is photographic and realistic! Even the gloomy background highlights the slight pessimism of the singer, even though Giannini manages to lighten it up with some strokes of red.
As a matter of fact, in several works depicting typical urban areas in Northern Europe, you can notice that by using tones of red, he manages to alleviate the sense of anguish generated by those grey skies that the artist is not very fond of.