#100 - 2506 Beacon Ave. | Sidney, BC V8L 1Y2, Canada 250-655-1722

Pino (Secondary Market Print)

The dramatic paintings of Giuseppe (Pino) Dangelico are not as spontaneous as they might at first appear. It is, in fact, the duplicity of fresh, spirited brushwork and rich dense tones of color... Read More

Pino Daeni Art Prints For Sale

  • Pino z Daeni Deborah Revisited

    Deborah RevisitedGiclee Print on Canvas
    38.5" x 30" / 96.52cm x 76.20cm
    Unframed (Canadian Dollar): $1,995.00
    Framed Price (Canadian Dollar): $1,995.00

  • Pino z Daeni Late Night Reading

    Late Night ReadingGiclee Print on Canvas
    27" x 36" / 68.58cm x 91.44cm
    Framed Price (Canadian Dollar): $1,995.00

About Pino Daeni

The dramatic paintings of Giuseppe (Pino) Dangelico are not as spontaneous as they might at first appear. It is, in fact, the duplicity of fresh, spirited brushwork and rich dense tones of color with carefully articulated pictorial values that distinguish Pino's images today.

With a full range of figural subjects from the youthful openness of children to the sensual innocence of young women and unvarnished records of life's penetrating experience etched in the faces of old men, Pino explores the act of painting in the process of uncovering the reality of form.

Pino's unique vision was born in formal training, disciplined by professional illustration and set free with the experimentation that has always marked advances in the history of painting. It is a vision that can reconcile geometric patterns of an informal interior space with the organic shapes of human forms; a vision that can press the picture plane with frank subjects that engage the viewer directly while others recede and turn shyly away.

A master of representational, impressionistic bravura painting, Pino attacks the canvas with an energy and confidence that recalls earlier work by Anders Zorn (1860-1920), Joaquin Sorolla (1863-1923) and, or course John Singer Sargent (1856-1925). A consummate technician, Pino has the ability to capture both form and light with a few lightning strokes, transforming everyday life into romantic moods filled with verve, vitality and mystery.

Born on the cusp of a defining world war in Europe, Pino Dangelico's childhood visual memories are those of women left behind to keep the home fires burning. His mother, aunts, grandmothers and cousins became a universe of attractive Italian women in aprons, maintaining domestic tranquility in very uncertain times. Bathed in the Adriatic light of his native Bari, these figures would later infuse the romantic canvases of Pino that speak so softly to the hearts of Europeans and Americans alike today.

Throughout his early education Pino drew sketches in the margins of his textbooks and, when his older brothers and soccer teammates offered him 30 lire per drawing to help them with their high school design projects, he considered the earned income confirmation that he might be able to support himself doing something that he loved. At seventeen Pino was enrolled at the Art Institute in Bari and found a job illustrating a small religious publication. At twenty-one he was ready to leave home for studies at the Academy of Brera in Milan. He arrived at the train station with three pencils, one brush and holes in his shoes.

Soon Pino was illustrating historical scenes for grade school textbooks and later joined the staff of Fabbri, a well-known publishing firm where he illustrated history books and women's magazines. When his father died suddenly at age fifty-two, Pino moved his mother, two sisters and three brothers (an older brother was already on his own) to Milan where, as head of the household, he was their sole support until his siblings were able to provide for themselves.

In 1970 Pino married Chiara and in 1971 their first child, a daughter, Paola was born. Later that year his five year contract with Fabbri expired and the ambitious artist made his first trip to the United States on a visitor's visa where he spent three unsuccessful months in new York seeking a sponsor and employment. Upon his return to Milan, Pino and Chiara had their second child, a son named Massimo.

Throughout his studies and early commercial career Pino dreamed of being free of art directors and account executives whose demands that he paint their ideas rather than his own were a constant drain on his creative energy. The prodigious attention span that he enjoyed as a child was now combined with the puritan work ethic of his father, the Italian flair for romance and detail and determined patience born of near poverty. Pino knew where he wanted to be but the responsibility of a family held him close to lucrative illustrations where his use of subliminal devices, color, composition and detail were already pushing the edge of the envelope in a field where publishers were more interested in consistency than originality.

Having grown up with the faded glories of renaissance art and architecture at his doorstep Pino was in tune with the energies of a new era and, despite his phenomenal success as one of the leading European illustrators of all time, he wanted to be closer to the dynamic art center of the world, New York. He also wanted to release his art from the restrictions of others and be free to explore new avenues that had been opened by the abstract expressionists of the late 1940's and early 1950's.

A visit to Manhattan in 1971 exposed Pino to the exciting synergy of the United States and the museums of New York opened his eyes to the rich history of figure painting in America. In 1978 he returned with his wife Chiara, seven-year daughter, Paola and five-year-old son, Massimo.

Knowing of course, that New York was not only the center of fine art but also the world publishing capital, the place where big deals were made and new concepts and original styles rewarded, Pino, accompanied by a friend as translator, began knocking on doors of America's top publishers. Zebra books gave him his first opportunity and the success of his first covers for Zebra soon had Simon & Schuster, Bantam, Harlequin, Penguin and Dell eagerly seeking his distinctive style that would not only dominate the market but also exert a profound influence on other artists' work from 1980 to 1995. During this period Pino was the highest paid illustrator in America with over 3,000 book covers, movie posters and magazine illustrations to his credit.

Eager to leave illustration behind and to begin stretching the envelope of fine art with his fresh figural concepts and brilliant brushwork, Pino began showing his canvases to galleries in 1994. They met with immediate success among collectors and Pino began to distill over forty years of training and experience into each new painting. Combining all that he has learned from formal training and assimilated from observing the great masters, Pino has evolved a mature style that is both distinctive and deeply rooted in art history.

In 1995 Pino was the subject of specials on Entertainment Tonight, CNN, and CBS' 48 Hours and in 1996 he was featured in People Magazine.

In June 2001, Pino was an invited artist in the Prix de West, one of the nation's most prestigious museum exhibitions at the National Cowboy Hall of Fame in Oklahoma City.