Cosimo Pizzulli’s interior architecture is informed and enriched by his life as a fine artist. He and his work are associated with the New Mannerists, a movement that emerged in the mid-1980s in response to what some artists saw as an over-extension of avant-garde ideals.
Taking their cues from old masters of the late-Renaissance mannerists, as wells as 17th-century Flemish artists and 19th-century painters such as David and Delacroix, Italian painters Antonella Cappuccio, Bruno d’Arcevia, Renato Nosek, Vittoria Scialoja, and Pizzulli bring the techniques of the past into the present day, drawing from a deep cultural well with new vision and new materials and media.
To view the work of the New Mannerists is to relive with the artist the intensity of the act of creation. Their paintings communicate to the viewer on a deep, even unconscious level the sense of proportion, integrity, and beauty that are at the root of great art. The New Mannerists take the viewer to the heart of the experience of art, which reconnects artist and audience to an elevated sense of the self through art, removed from layers of cultural context or comment. The art itself, and our experience within it, is distilled and intensified in time.
The principles of the New Mannerism are fundamental: absolute devotion to excellence in painting, continuing in-depth study of age-old techniques, masterful painting, and the view that beauty, knowledge, and style are the basis for all art.
Pizzulli’s work in design and architecture are informed by these principles. And it is his dedication to these principles that brings to all of his work its sense of proportion, economy, and timelessness coexisting inside of modernity.