One style, 4 decades
The general catalog ofthe works of Davide Tedeschini is under construction: the 700 works of various techniques and supports have been realized from 1984 to 2019. the entire work can be divided into 4 decades: Years 80, 90, 2000 and ends with the 'current, from 2010. The subdivision is not really stylistic as there is a continuity determined by the topoi dear to the artist, which revolve around the identity of modern and contemporary art and the role of the artist in society. Probably the most obvious are the 'conflict' and the 'loneliness'. In this succession of images - of trees / flowers, fields / landscapes, nudes / carcasses-bodies - which are revived as metaphorical structures of the world and of life, there are events of discontinuity (also cataloged and useful for understanding the style of 'artist).
Already from the 80s to a figurative painting in stain, alternates the abstract trespassing in surreality and this 'manner' reaches to the present day. Initially he was influenced by the Balkan painter Lin Delya and not by chance by the story of Van Gogh. (To seal this research there is the triptych n. 65). In the 90s, instead, he looks at the contemporary researches of oil color and engages himself in dripping and in action painting, perhaps looking at the Roman artist Schifano and the English Francis Bacon (trittico 138), experimenting also in geometric abstraction, in the landscape, in the portrait and in the drawing of the nude (admirer of Picasso and Matisse), with proofs of flat painting and relating to the experiences of sanatoriums and laboratories for the mentally disabled (polyptych 235) in which research on color is combined with formal research.
At the conclusion of the academic studies undertaken since 2000, the painter's style seems more refined, coming into contact with the recent Italian artistic and literary production, but he does not despise the terories of experimental psychology, the American abstract, conceptual artists or those of the Biennale on which writes articles, comments and reflections.
The latest works now seem to be free of any reference. Solitude and conflict therefore seem to find full expression in the abstract paintings of the recent series of Freedom and Europe, while themes like wheat fields, carcasses and birds in black and white painting continue in their transfigured relationship with social history (532).
531. Campo di grano, lattuga e gabbiani, Acrlico su tavola, 120x110 x 4 cm, 2018
532, 533,534 Trittico della quercia dei campi di grano e dei corvi, 2018. Acrilico su tela, 3 tele da 277 x 225.