Alessandro Danzini, born in Pisa in 1974, has always lived in Livorno.
Starting from the important tradition that characterizes the Tuscan school, it has arrived at a painting in which the analysis of the detail, the attention to detail, the carefully studied construction, the precision of the stretch, away from any legacy of Macchiaiolo flavor.
The images that portray the Tuscan coast, landscapes, views, seascapes, are rendered with accentuated realism, but far from a faithful and cold representation of objective reality.
These are new perspectives, which have nothing to do with landscape postcard, but which offer more intimate interpretations. 
The taste of the sea, vibrant light, intense blues stimulate our emotions. But the focus is on the rock. In the foreground, at an angle which distorts the proportions, we see it harsh, tormented, torn, battered by the force of salt, wind and sea. A dialogue between motion impetuous of erosive agents and the impotent immobility of the rock, between the destructive action and the genesis of great beauty. 
The games of the light in the wounds of the rocks, the admirable architecture, the spectacular color variations of the concretions, are a hymn to the shaping force of nature, generating extraordinary wonders. At the same time, a reference to the transient nature of the ephemeral earthly life, to precariousness and transience of everything.

Maria Teresa Majoli

Alessandro Danzini lives on the edge of the Labronica cliff, on the Tuscan coast. His art over the years has permeated the cultural history and the geography of its places. The Macchiaioli tradition and the colors and shapes typical of that strip of land come together and evolve into a characterization of technique and composition. Alessandro's shots are never taken for granted and are designed to project the observer directly into the panorama. His works celebrate and monumentize the beauty of those places, making it immortal but underlining its fragility. The other side of his work is in fact openly critical of the invasiveness of human interventions, which risk altering the delicate balance that creates the human heritage called beauty.

Silvia Rossi – Expart Galleria d’arte 2018

La sua pittura nasce dal cuore macchiaiolo e paesaggista della costa tirrena, passando per l'impressionismo, fino a riavvicinarsi a una pittura figurativa che di classico ha solo il medium, quello dell'olio.

Le marine si staccano infatti dalla radicata idea che abbiamo di esse, diventano opere il cui fulcro vitale si sposta leggermente e, pur lasciandoci avvolti in un sentore di salsedine, fa virare la nostra attenzione verso particolari incredibili del litorale labronico, ricchi di colori, geometrie, astrazioni e architetture naturali.

Ecco come la pietra, mai cosÏ viva, si erge a protagonista. Gli azzurri del mare e del cielo amplificano le calde note del sole che bacia gli scogli, sottolineandone curve e convessità. L'acqua è un meraviglioso scultore, perfettamente immortalato da Alessandro, che omaggia la sua terra e la ricca storia pittorica che la attraversa con opere che diventano un'istantanea, un monumento alla transitorietà.

Marco Botti

La pittura di Danzini è un viaggio, profondissimo e misterioso, ai confini della terra proprio là dove inizia il mare. Una linea sottile demarca queste due sfere in reciproco movimento ma, sembra dirci Danzini, la vita si manifesta sempre: nel mare con un infinito movimento molecolare. Continua sulla terraferma, sulle rocce soprattutto, oggetto di plurisecolare erosione e proprio per questo visivamente assai suggestive. Infatti Danzini procede con impetuosi spunti iperrealistici alla ricerca di quella precisione estrema che dal piano biofisico sconfina in quello escatologico-religioso. E, ricordiamo, come sovra terra e mare si stagli – silenzioso e poetico – un cielo uniforme che, con tratto perentorio, riunisce e avvicina umano e divino.

Fabio Bianchi

Alessandro Danzini, born in Pisa in 1974, has always lived in Leghorn, a town that is deep rooted in his heart. His works of precision and analysis of minute detail, are the fruit of long intense study. Landscapes, foreshortening, seascapes, are depicted with accentuated realism. Every work is carefully thought, studied in the plan, construction, perspective and in the light, and the skilful use of expressive means translate emotions perfectly, and gracefully transmit them. His cliffs are unforgettable! His artistic education is at the base of his artistic experience. From the start he wanted to make good use of his natural talent dedicating himself to the study of drawing and planning, he attended the school for Geometri, building on the basic techniques, and ending with a degree in the Conservation of Cultural Heritage, perfecting his sensitivity through the study of the great masters.

Maria Teresa
Galleria d’Arte “Il Melograno” Livorno.

New insights by Alessandro Danzini

The most notable quality that hits those who are acquainted with Alessandro Danzini’s work, is his total, constant and steadfast dedication to Art: a dedication which the artist has kept intact in the long and intense years of artistic activity, and that has highlighted his very personal pictorial choice as one of his best characteristics. Right from the start Danzini has focused his art on landscape scenes, re-elaborating according to his personal feeling and deep rooted talent that in the years he has never eluded: Nature as the only and true advocate of beauty. Nature that the artist viscerally analyzes and exalts in the careful depiction of the details that compose it- not in the sense of a predicted hyper-realism but following a procedure that reminds us of the en plein –air of times gone by, where every element maintains “naturally” its vital spark and, like a puzzle piece completes the picture. 
The eye for detail with which Danzini analyzed the elements in his oldest works is today combined with a more careful special research which finds in the brave glimpses his natural consequence: the frontal vision, to the plain weave or to the canonically axonometric, Danzini now substitutes a more discarding, bizarre and tense prospective, playing with cuts and framing, with angles and with the classic slipping of the horizon that the artist feels tied to. Such artistic doing, antithetic and nonconformist compared to the famous Leghorn landscape school to which he feels he belongs to, has its cornerstone in the choice of subjects which, even if present, had always paid homage to sea views as corollary or plain extra, but for Danzini instead they have become a never ending source of continuous research and experimentation. Fathoming the orography of the coats or the modulating of the rocks to the discovery/rediscovery of landscapes with a lunar feel, unlikely ecosystems created by the action of the waves and wind, have brought Danzini to identifying a different concept of “sea view”, overturning the situation and turning the extras into “ leading roles”: subjects – the rocks – of “different and unsuspected” Nature that, in his paintings, come to life. Every careful brushstroke, every play of light – skillfully administered by the artist - tends to highlight this “ vital presence”. It is in capturing the extraordinary pulsating aspects of the inanimate, that he again accentuates the total absence of man and of his presence, absence that becomes the cornerstone in these his “ new” views. What we continue to consider as an “artistic revolution” in landscape painting – for pictorial modality and certain conceptual objectives – guide the spectator within a vision of the whole where the mnemonic identification or geographic location are no longer as important as they once were; and where the naturalistic plausibility plays a fundamental role. The view offered becomes total and particular at the same time; and as noted before under the observation lens approach to the elements that Danzini has always used is enriched in this his new course of harmony previously looked for – but often only alluded to- that now finds its full visual presence, symptom of an artistic sensitivity that has grown enormously.

Francesco Mutti

Emerging autodidact artist, even if busy in the private market, from the begin in following of a visual and emotional lenticularity, taken from the nature of loved Tuscany coast landscapes and exceptionally seeming to belonging to him because of his studies and talent. This almost makes him in countertendency respect of the biggest part of contemporary local artistic production.
Danzini is in accordance with this when, sensitive to light and atmospheric effects fossilized in absolute times, he paints seascapes near Leghorn or countryside or medieval villages, with easiness and wealth of detail, to leave nothing to chance and keeping the freshness of a snapshot.
He is attracted by the tout court views and by the deepest meanings of Nature, so he complies with his passion, representing frequently also the Alpi landscapes, a not common subject for the local production, but very bound with him.
Danzini puts togheter art and emotions, keeping the magnificent feelings of loneliness and peace of our most celebrated mountains and obtaining the intimate variety of our coastiline.
His works are made to be watched both nearby, to better clarify his pictorial way with detailed and thought brush-strokes, and far from it, in a whole view that is surprising everytime as the first time.

Francesco Mutti

Danzini Alessandro intertwines with nature an intense and passionate relationship, crossing with courage the threshold the reign of absolute mystery relative to the various elements of creation.

Anna Francesca Biondolillo
BOE' two monthly journal of artistic and cultural education - Year VI - no. 6 November - December 2009. Editor "Centro Diffusione Arte"

INTERVIEWING ALESSANDRO DANZINI
Since the early 1940s’, due to sudden war and postwar changes in society, many artists felt the need to find out new ways of expressing themselves, creating new codes that could break with the past. In this way they could give voice to the human and social conditions of the period they were living in. What had been created up to that moment seemed to be inadequate, at least outdated: the canvas, as if marked hopelessly by the events, turned into a battle field of colours, gestures, painful cuts, demolishing what had been done up to that period.

Artists stopped portraying reality to give life to abstract, parallel worlds. Many years have gone by, anyway, still nowadays ,art seems to be influenced by that historical period ,proposing works of art whose intent would like to be provocative, a breaking point. In fact, new materials, concepts and modalities are being used, in accordance with their level  of performance and  ability to fit in . In this way the concept of art is extended to different ways of expressing it.

On the contrary, Alessandro Danzini, not interested in what the world of contemporary art would like to propose, moves on a completely different track, discovering Nature as the main element of his art. In our modern society, where everything flows quickly, Danzini succeeds in feeling elated, contemplating a landscape, bringing it to life again in his works. After years of introspective art Alessandro makes the narrow bond between Man and his environment successful again being ready to highlight Nature’s beauty. Of course going against the most relevant art tendencies ,exposing himself to likely criticism, Danzini proves to be an artist endowed with such strong personality  and temperament that enable him to stand out of the mass.

Sara Delussu: How and when did you begin to be interested in art?

Alessandro Danzini: My passion goes back to my childhood, more or less around the last years of Elementary School. I was inspired by my Art Teacher, a very relevant figure in my life. Every week he used to get us to copy famous artists’ works with different techniques; they were mostly marines or landscapes drawn and painted with common crayons, replaced later by pastels and chalks.
I believe my true passion for painting rose in those years ; I was more and more involved, feeling excited for my steady development in technique. I have to say I became aware of my skills in 2000 when, almost by joke, I was still a university student, I started sketching tempera landscapes on pieces of paper.

SD: Which technique is peculiar to your latest production?

AD: I have been using oil paints for many years considering this technique the most suitable to interpret my way of painting. In contrast with the latest tendencies of contemporary art, I love to keep a narrow bond with the painting tradition, especially the Labronic one, testing myself on using colours. This is the reason why I define myself simply as painter not artist . A painter is someone who, without fanciful artistic ambitions ,succeeds in portraying on a canvas his wishes and desires only using a brush, sometimes oil colours and a palette, looking back to the ancient artisan tradition.
My studies at the technical school taught me to be rigorous, precise in “doing”, realizing how important proportions and prospective are elements that are basic to good painting.

SD: Looking at your works, your interest in portraying landscapes is evident: don’t you feel afraid, devoting yourself to this genre, of being outdated? Has your message got something more to tell about Nature than other landscapists?

AD: For sure the landscape genre has been subject of painting for many centuries. I have to say I observe landscapes in a quite personal way. The basic concept is rather simple: you can portray Nature in so many different ways that no one of them will be the same. My works, in my own small way, frame unique moments, the one different from the other. Nowadays, it’s hard to propose brand-new ideas. Sometimes modern abstract-informal works of art go back to the 40s’ and 50s’ without introducing any changes. My painting aims at being contemporary, in the meanwhile doing not try to emulate the Macchiaoli experience that have marked my way of painting, affecting my concentrating on brush strokes, lines, shades. Anyway ,my following the Macchiaoli way of painting leaves me unsatisfied as if my work were not been finished yet. I try to overcome the sensation, being precise to the minutest detail, in the meanwhile going back to artistic experiences dating back to the XVII century, like Paussin‘s or Lorenese’s. Trying to be close to reality, doesn’t mean to aim at either photographic or none the less hyper-realistic painting, rather to point out the masterly craftsmanship, the stroke itself, the pictorial stuff on the canvas . Nature fascinates me so much that to portray it, it’s a “must”, a means to pay homage to it .In this way, my painting only landscapes is a way to be “faithful” to Nature ,being not inclined to sweep from genre to genre or simply showing a good technique, but testifying I have actually found my artistic path.
I firmly believe that to distinguish yourself in an artistic classical genre as “sight” can be considered extremely courageous as it means to feel sure and aware of your own choices, even if you go against the tide, that is fashion and business.  

SD: Your university Art History studies gave you the opportunity to appreciate different artistic styles and tendencies: are  there any Masters you draw inspiration from?

AD: Even if there are painters I prefer to others, I ‘m not influenced by a specific artist as I have a very personal way to approach Nature. I’m a proudly self-taught artist, concentrating myself on what I’m doing, following my instinct and inclination, not the required academic principles.

SD: What do you think of the latest art forms?

AD: To tell the truth there are too many improvised artists, who don’t have a solid knowledge of the artistic technique, but only right acquaintances on the market. While Great Masters like Kandinskij or Mondrian e.g., reached abstract forms after a long figurative career, deliberately changing their course, many youngsters nowadays reach Art in a superficial way, producing works that are meaningless from the historical point of view. I firmly believe in Nature’s capability and in the painter’s thoughtful mastery, suggesting only the most relevant points. 

SD: How do you choose your subjects?

AD: Choosing my subjects is a fundamental step. I portray moments and places that actually affect me for their intensity
My sensibility is great. Very often I’m dazzled, while I’m involved in something completely different, by certain views, sunsets, and immediately I feel the need to frame those moments on my canvas. I love painting mountains, cliffs. Anyway, my native background leads me to deal with the sea and the Labronic coast. Men are never portrayed in my landscapes, as I find them disturbing elements; furthermore Man is the only living being who, in a presumptuous way, very often doesn’t fit in the environment, rather He exploits and spoils Nature. The only painted architectures are those that for me are harmonized better with the surrounding nature. I usually frame the right moment with my camera. I work on the picture as soon as I get to my study. Sometimes I have to go back to the place where I shot the picture to grasp details my camera wasn’t able to freeze, testing my sensibility in front of the numberless nuances Nature can offer. You don’t need to use your imagination, Nature is open in front of you, it’s only the painter’s task to choose its various aspects.

SD: What are you looking forward to as an artist?

AD: As I said before I love painting mountains and cliffs. In my future I’d like to focus on the detailed observation of objects, revealing peculiarities that human eye can’t perceive. I’ve already started this way of painting, dwelling upon parts of cliffs. I have reached good ,almost surrealistic results. I usually limit myself to what I can see, without adding anything, as a proof Nature itself can offer unusual views.

SD: Who are your works addressed to? What kind of public could be interested in your paintings?

AD: I address all those who, like me,  feel excited in front of a landscape, a view, a light, all those who love to make this sensation alive and everlasting on a canvas.  Certainly I can’t exclude those who, due to their personal taste or lack in art culture, cannot perceive  abstract painting as too difficult to understand.

Sara Delussu
Art’s Curator