Influences of the Artist Vidan

Born in Perugia, Italy in 1965, artist Vidan showed signs of artistic ability at a very young age. But it was more than an early demonstration of ability that prompted his parents to encourage his love of art. He also showed great passion, even as a young man, that would later be focused through his attendance at Italian art schools.

After attending Liceo Artistico de Milan and the Accademia della Belle Arti in Brera, at the age of 23 he moved to the United States, following in the footsteps of his uncle, famed artist Pino, born Guiseppe Dangelico in Bari, Italy. Pino’s art influences were mainly Rafael and Macchiaioli, influences that were later passed on to Vidan.

Following his arrival in America, Vidan found work illustrating covers for romance novels and has provided flowing, colorful cover art for publishers such as Zebra, Harlequin, Berkley and Doubleday never once losing sight of his dream to be recognized as a fine arts gallery artist. After 15 years painting cover art for books, his passion for fine art came to life in 2004 with the inclusion of his works in galleries around the globe.

Some art lovers have compared his style to early impressionist painters such as Claude Monet and Paul Gauguin, early impressionists. The style of painting employed by Vidan, as well as his now-departed uncle Pino, is often described as a vision recreated after a mere glimpse of the subject. While many of the works of art are that of flowing images of lovely females, his use of strong colors are evidenced in his landscapes, much like those of Gauguin.

It would only make sense that Vidan art would be influenced by Renaissance arts, especially the Italian Renaissance period and with his uncle Pino, working side by side with him in their studio in the United States, there are a few hints of Rafael’s works as well as those by French Renaissance impressionist Auguste Renoir.

His use of colors to provide the effects of light and shadow, using scant and nearly non-existent backgrounds on his portraits also seems to have been drawn from the works of Renoir. And even his landscape paintings seem to present shadows of works of 15th century painter Masaccio. But they all have blended together to provide the unique and individual talent of the impressionist artist known simply as Vidan.

After a dozen years working as a gallery artist, Pino returned to his original vocation of producing art for the covers of books and magazines, a move that Vidan has yet to consider. His love for painting as a young child was to have his works in galleries and there is no evidence to suggest that he will again follow in the footsteps of perhaps the most influential man in his life, his uncle.

He followed in his path in creating book covers and then followed him to the United States where he worked closely with him with some of Pino’s earliest influences rubbing off on the younger artist. Vidan’s move to gallery displays has allowed him to achieve his love for art and enables him to live out his passion.

Paintings by Vidan

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