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De Biasio’s visual education took place in Italy, in close contact with Beauty and with our great artistic and architectural tradition. And this is evident, also and above all, in his aesthetic and expressive choices, in the adoption, at least up to now, of the “Still Life” as his preferred genre, as well as in the proud, but never ostentatious or extremist, sense of belonging to that noble progeny of painters deeply rooted in the artisanal dimension of their “doing art”, in the inalienable and voluptuous “sensuality of contact with the canvas” (De Biasio’s words) through brushes, colours, and oil.
In this sense, De Biasio is a painter firmly anchored in the Italian tradition, also, but not only, because of how he looks at and represents his reality. Attention to tradition, then, but also to its renewal: that “tradition of the new,” indeed, which has characterised our art from Giotto to our days.
De Biasio himself took his first steps in the world of painting pursuing a classic, far from extreme, realism. His visual revolution took place in the United States, where he lived from 2003 to 2008, enriching his visual perception capacity thanks to his contact with the variegated and lively New York arts scene and, above all, through his direct interaction with the original Photorealism. This experience led the Italian painter not so much to an ideological embrace of hyperrealistic concepts, but rather to technical learning, to strictly in-depth pictorial explorations aimed at achieving an extreme realism steeped in the Italian sense of Beauty.