Info
Painter, author, portraitist, Art Teacher, graduated in Goldsmith Applied Art, qualified in advertising and computer graphics, illustrator, decorator, designer and owner since 2001 of Studio Artistico Di Cristofaro
Realizes:
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"Surrealist, abstract, and informal Master Paintings.
Techniques: acrylic, enamel, and oil. -
Portraits using acrylic and oil techniques.
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Trompe l'oeil and murals with acrylic technique.
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Landscapes, vistas, floral subjects, and decorations on various surfaces such as walls, furniture, and fabric. Techniques: acrylic, fabric acrylic, enamels, and oil.
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Graphics, drawings, portraits on cardboard using graphite, pastel, charcoal, and ballpoint pen techniques.
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Portraits, realistic or surreal illustrations, abstract paintings, logos, and decorations with Digital art technique (graphic tablet)."
They wrote about her
Michele Ursini 1995
"Vivid human figures are depicted in attitudes ranging from playful artistic to religious to the Sacred, portraits of adolescents from urban personalities, youthful fantasies, all expressed with a color palette that is almost aggressive, a palette full of 'verve' with a difficulty that is contained and can be managed within the limits that only time and experience suggest and impose. Then, sweet landscapes with and of the city. Di Cristofaro must love her city, Chieti, very much to depict it in the stunning panoramas it offers, in its ancient churches, historic streets, and unexpected squares that open behind one corner or another. She succeeds in conveying to the viewer the charm she has felt and continues to feel in painting it. The colors soften, temper, and the atmosphere, though not veiled, still filters every architectural and vegetal element, leaving room for thought and dream.
It is surprising that such a young painter resists the temptation to represent the hectic modern life; thus, in her squares and streets, she never includes a car. It is equally surprising that, despite being a portraitist of high level, she never animates her landscapes or city views with human figures. Does she perhaps fear spoiling nature, the simplicity, and purity of things with the presence of man? In that case, the discussion becomes complex and assumes a philosophical existential character that we will not develop here. What remains certain is that Di Cristofaro is a skilled painter and that, especially when her ardor is tempered and her experience grows, she will discipline her current palette and offer works of considerable critical and artistic interest to both the naive admirer and the demanding viewer."
Antonio Pulifici 1996
"An aggressive, assaulting painting style ready to evoke emotions through precise and vividly colorful interpretations where the woman is the absolute protagonist. A compelling painting that provokes even more reflection when you know the artist—a very young girl who, however, shows no hesitation at least in front of the canvas.
Her artistic future is assured."
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Sebastiano Ventresca, 1997
"Distinctive qualities of Antonella Di Cristofaro's painting is the passion, especially evident in the vivid color tones that evoke tense and turbulent psychological states characteristic of early youth. This dominant aspect is occasionally counterbalanced by sudden pauses or downturns, where the shadow of existential difficulty becomes apparent, stemming from the artist’s not-so-happy contingent circumstances. In these instances, the colors soften and fade, and the images take on an uncertain and subdued appearance, speaking of spiritual crisis and defeat.
Her line work is fluid, and in perspective, the artist has the potential to achieve noteworthy results. Artistic deepening and refinement are mandatory for everyone, including Di Cristofaro. Best wishes."
Simonetta Checchia 1998
"In recent years, the pictorial work of Antonella Di Cristofaro has shifted from pure landscape painting and situational depictions to a more direct denunciation of reality. Men and Women with triangular faces and angry expressions appear, around their eyes masks of contrasting colors blend with the entire painting and merge with the complexion of the faces. The masks are us, or what we seem to be, all with a frown similar to those around us: it's a sort of Domino of Falsity where no one initiates a change in direction! The denunciation is aimed at the falseness of provincial life, full of gossip and appearances, seen as the only possible means of defense from others. At first glance, the masks of Antonella Di Cristofaro may seem distorted figures compared to reality, but delving deeper, it becomes clear that reality itself has become distorted. The painter merely depicts our faces as they wander through the world with their underlying truth no longer socially accepted."
S. De Massis, 2010
"A distinguishing feature of the visual language of Artist Antonella Di Cristofaro is the meticulous precision of forms, the dramatic force of expression, the intensity of the inner world, and the creative fervor that convey the subjective message towards an objective testimony of our times.
Like a 'reporter,' she describes the human condition of contemporary man, capturing a collective state of mind, exploring moods, feelings, and especially the anguish of paradoxes and psychological contortions. In this context, her surrealist figures gain an emblematic, allegorical, and apotropaic value.
The current language, which moves between surrealist figurative, informal, and abstract styles, is thus the natural outcome of a long process and study that has shifted from merely depicting figures to expressing reality and psyche. It now assigns them the task of conveying a new and even positive inner vision of the artist, where the tortuous complications of existence manifest as tangles to be unraveled, and where the vibrant, colorful smudges and entanglements transform into emotional experiences and a search for the emotional knots of memories."
Stefano D'Antino, 2016
"I knew Antonella Di Cristofaro even before meeting her, through the seductive and penetrating style of her portraits, showcased in many places across our elegant city. Her precise lines and confident brushstrokes envelop her subjects in an intense mystery. The painter favors portraiture and figurative art in general, adeptly engaging with every genre, provoking reflections on various senses that captivate even the most distracted viewers.
Through harmony, confidence, the purity of forms, and the construction of chiaroscuro on physiognomies, the artist invites contemplation on the different levels of feelings, bridging the individual and universal dimensions of humanity. This cosmic eternity captures the deep self, with its falls and resurrections, rising on the decisive forms and metaphysical gazes of the faces. The female faces exude a seductive impassivity, reminiscent of the sensual muses of the great exponents of the Vienna Secession.
Warm colors, blended with cooler or less intense tones, create an aura that is both unsettling and reassuring. For the painter, the exploration of emptiness aims to push subjects and objects towards bonds of strength, elemental complexities in their redundant natural will—'bindings' that present themselves as inscrutable codes, free yet organic filamentous thoughts among Botticellian hair.
From Di Cristofaro’s paintings, life pulses within the vibrant spheres and blood bubbles."
Maria Palladino, 2018
"She manages to combine in her artworks a great technical mastery with a versatile poetic and imaginative world. She varies from realism to surrealism, venturing into informal art and abstraction. In this case, the subject expresses a desire for balance between an inner fragmentation and the will to regain unity, which, however, is never perfect. The pieces never fitting perfectly suggest tolerance towards oneself and others because, even when delving into naturalistic representations, the human nature remains her chosen subject, focusing on the emotions and inner conflicts of contemporary man."