Franco Fusari es un dibujante italiano. Su temática es exclusivamente el desnudo. Su dibujo es simple, sin grandes pretensiones y muy depurado.
"Nacido en 1945, he estado viviendo en Venecia y Verona. Mi padre era escultor en mármol y por parte de mi madre de la familia hay muchos antepasados que fueran pintores y escultores. Cabe destacar entre ellos era Angelo Pizzi, uno de los favoritos de Napoleón que, después de la conquista de Venecia en 1797, fue nombrado Director de la Academia de Bellas Artes y lo contrató para crear la napoleónica de pasillo en la plaza de San Marcos, delante de la catedral de San Marcos en Venecia. Mis obras de arte se venden en muchas galerías de arte en todo el mundo, especialmente en EE.UU., Reino Unido, Finlandia y la India y se exhiben en algunos museos, como el Museo de Bellas Artes del Condado de Washington y el Museo Bass de Arte en Miami. A menudo trabajo por encargo, haciendo retratos (cara, la mitad de la longitud o de larga duración, vestida o desnuda, a partir de fotos o pose). También puedo usar los medios (piedra negro y / o arcilla con óxidos naturales), los materiales (Fabriano o papel hecho a mano) y las técnicas de dibujo utilizado por los artistas del Renacimiento italiano".
My father was a sculptor who specialized in marble. On my mother's side of the family are many ancestors who were painters and sculptors. Notable among them was Angelo Pizzi, a particular favourite with Napoleon who, after conquering Venice in 1797, nominated him to the post of Director of Accademia di Belle Arti (Fine Art Academy) and contracted him to create the Napoleonic Aisle in Piazza San Marco (St. Mark’s square), in front of San Marco Cathedral in Venice.
I began to draw and to paint under guidance of my grandfather, sculptor, and my uncles, painters: in watercolors when I was 5 and in oils at the age of 8. I studied at the Scuola d'Arte e Mestieri (Art and Craft School) in Vicenza and at the Accademia di Belle Arti in Venice. At the age of 25 I was married and I had to change completely my activities in order to provide a family, in those days it was very difficult in Italy to earn one's living making art only. But I had been dedicating all my free time to art. Since it was necessary to start an art work at any point and in bad light conditions also, I had to abandon oil panting and use more simple media (pastel, Chinese ink, classical ink, charcoal, pencil). In this way I was able to draw without worrying about sales, in complete freedom but having little time at my disposal. In 2009 I’ve closed all my previous activities an now I can dedicate my time to drawing exclusively.
Until now I didn’t spend much time on commercialisation of my works. In this moment I’m represented in private collections in Italy, Germany, Austria, Denmark and France, in art galleries in the United States, England, Finland and India and in public collections such as the Washington County Museum of Fine Arts, the Bass Museum of Art of Miami.Artist's Statement.
My work is the expression of my own love for the beauty and the grace of the feminine eyes, face and body, alpha and omega of every beauty as such as in antique Greece and Venice renaissance. Nevertheless, the beauty and the grace are not, for me, the ideal of perfection only, but the primordial energy of desire that pulses, mysterious and rampant, in alive bodies and condenses in superbly sensual forms. Bodies with beauty and silkiness of a flower, not in the sense of compositional perfection only, but in that one more literal of «the flower that gives life».
For this reason, the particularity of every model is very important for me and fundamental to my creative process, the model being, in a sense, the co-author of the art.
This beauty and this grace, however, are ephemeral and I don’t want let them corrupt.
I want to see the splendor of the beauty in the woman who is posing and the grace she exteriorizes it with, being me participant of the vision of this marvellous secret garden. I want to catch and to fix this splendor in its essential forms and interpret it on paper so that it could fade away slowly, very slowly, such as pastels in the sunlight.
I prefer to work with pastel on watercolor paper, just because the pastel is impermanent but I work with ink, watercolor, pencil and charcoal also.
With liberty of expression and precision in what I want to achieve, I can mix any technique, color or material at will and create more freely.