FUJIFILM_FinePix S2800HD_309116088-30912



Amedeo Del Giudice was born in Naples on the 1st of January in 1948. When his father died, his mother, a widow with three children had to move with her family to her father's town.

He spent his adolescence in the "Luigi Sodo College" of Cerreto Sannita where his maternal uncle was a bishop. The visceral passion for art, inherent in his DNA, has always been dominant, he never missed the opportunities to admire artists who often wandered around the episcopal salons to perform painting and restoration. Very often he escaped to the art institute to see the works that were carried out by the students and teachers, but above all, to stay in close contact with the colors and materials that until that moment, were foreign to him. In 1967, despite the contrasts with his uncle and his family, who wanted to direct him to classical studies, he obtained a diploma as a master of ceramics-section at the local State Art Institute and subsequently attended the Academy of Fine Arts of Naples.  He is qualified to teach drawing, painting and art history.

At the age of 21, at the same art institute, he was appointed professor of drawing from life and visual education and then at the Liceo Artistico Statale di Benevento. In those years, there were numerous personal and collective exhibitions held thanks to the interest and esteem that the painter Luigi Pane, then director of the Art Institute, had for him. On one occasion, during the edition of the "Marina di Ravenna" Prize, he met the painter Domenico Purificato who followed him for a long time presenting him, also in catalog, and during his personal exhibition held in 1971 at the gallery "Tribuna Politica di Roma."  From that period on, the many visits to his villa in Fondi or to the bar in Via Brera in Milan began in his house and in the city of Del Giudice where he had made fruitful contacts with the "San Carlo" gallery in Via Manzoni, and with the art critic Renzo Modesti who had an interview with the art critic Patrizia Serra and whom dedicated to him the review "Notizie D'arte."

Married to Minni in 1973, he established his office and studio in Telese Terme where his three sons Tania, Ivan and Giulia were born.  After the earthquake of the 80s, he created the "Via Crucis" for the cathedral of Cerreto Sannita. Later he transferred to the Liceo Artistico of Benevento as a lecturer at the chair of pictorial disciplines.  Here he was able to meet and attend with Mimmo Paladino. After a teaching period of about five years, his friend Paladino moved to Milan while Del Giudice was the dean of the Art School of Busto Arsizio, in the province of Varese. Later, he had fruitful relations in Rome with the art critic Carmine Benincasa.  During his personal exhibition at the "G59" gallery, he met the art critic Franco Solmi, who on one of his visits to his studio in Campania, invited him to hold a personal exhibition at the Galleria d'Arte Moderna in Bologna of which he was the director.

In 1985, he was invited by Ruth Hearley, a noted art professor, to hold a solo show at "Russell Sage College" in Troy-New York. At the end of the eighties, having left teaching, he devoted himself completely to the artistic activity. The nineties were for him the years of great works.  From "the sculpture of the angel" on the bell tower of the Basilica of San Giorgio in Venice to the realization, in different cities, of numerous altarpieces and frescoes. At the beginning of the third millennium, he was engaged in Corigliano Calabro in interventions of sculptures and installations in the famous castle of the Compagna family, subsequently owned by the Municipality. He is currently followed in his artistic career by the set designer Massimo Nardi, the architect Raffaello Paiella and the Galleria Arte Maggiore in Rome.

Del Giudice’s works of art have the power and ability to enhance your inner vision, allowing you to see not only what is on the surface, but pushing you to dive right into the image’s soul.  Because yes, a soul can be felt in those images.  With an exquisite touch of darkness one can be reassured that our own mistakes will not go unnoticed, but neither will we be sacrificed.  A glance at Del Giudice’s works of art, and one can feel that inner solitude we all have faced at some point in our lives.  And we can only empathize with the collective suffering of the world.  His art brings us face to face with our own sufferings and our own happy circumstances that often times go undetected because we are too caught up on what’s not to be.  Standing before Del Giudice’s art, one is confronted with the impulse to simply face what lies beneath that we are so reluctant to accept and make every effort at avoiding.  In essence, we are given an opportunity to start again.      

Q. Do you remember the first art you made? What was it and how old were you?
 I made my first work in 1967 at the age of 19, it was a painting inspired by Picasso's analytic cubism. After this experience and over the years, I was attracted to Neorealism. I talked about the Vietnam War and then the popular traditions of the South with an exhibition “Il sud la mia gente.”  

Q. Tell us about some of the highlights of your artistic career, such us memorable shows or publications. 

A. The particular moments of my artistic career are of course: the one in Rome in 1974 at the "Tribuna Politica" Art Gallery with the presentation of the Maestro Domenico Purificato; that of the May of Monuments in Naples 2015- Personal Exhibition "Woman" in Santa Maria Della Pace former Hospital in Lazzaretto; the Exposition at the "Expo Arte 2013" Bari; the solo show at PAN (Palazzo Delle Arti Napoli) "Donne in" in 2016, these are the most important. Of course, the publications could not be missed: "Amedeo Del Giudice" by Lello Spinelli, and "Women in a painting by Amedeo Del Giudice," presentation by Sergio Munno with critical text by Gaetano Mongelli Lecturer in Medieval and Modern History of Art at the University of Bari and Potenza. Ikone edition.

Q. What artistic styles and movements are reflected in your painting?
In the past, as has been said previously, Neorealism played a decisive role in my painting. Then I let myself go to my passions, losing all reference to painters and movements.

Q. Why did you decide to become an artist?
 The answer to this question is the same that a doctor, a plumber, or anyone else could give, but in my case, the love for art and beauty has played a decisive role.

Q. What has been the most touching or memorable moment you've experienced in your career?

A. They are more than one, undoubtedly the realization of "dell’Angelo del Campanile" at the Basilica of San Giorgio in Venice. Wooden sculpture with subsequent bronze casting of mt. 3.15.  Or The "Via Crucis" bas-relief in polychrome terracotta at the Cathedral of Cerreto Sannita. The altarpieces in some churches of Alto Casertano, and finally "Il sacco di Pietramelara of 1496", work of mt.187 X 252 graphite charcoal and pastels on wood.

Q. If your works could speak ... What would it say? 

A. They would complain about long waits. Many times, I keep them in stand-by waiting for better solutions, or to solve some difficulties.


Q. Who are your biggest influences? Are you inspired by the work of your peers or someone else in particular?
 My works, strange to say, are influenced by photography and images. I look much more at photographers than at artists. However, this does not exclude my love for Raphael, Caravaggio, Picasso, and Bacon.

Q. What does 'success' mean to you?
 I don't know, I lived moments of success even when as a boy, but I never gave it any weight.  In fact, I didn't even notice it. I understood it later when they told me about those moments. I have always believed that there are other "artists" better than me and therefore the main purpose was to reach them, or at least to do my best.

Q. Is the artistic life lonely? What do you do to counteract it?  
 Nothing, if you do the artist you can't think of anything else. Art takes you totally and if you really want to practice it you have to put aside everything that can be a hindrance to your thinking and your work.

Q. What does your art aim to express?

A. My art is only a need that comes from within, a way of being, a way of life, an eternal conversation that the artist makes to confront himself. It is a form of pure selfishness whose object is the work. A picture can represent but cannot say, the picture is an end in itself.

Q. What’s the best piece of advice you’ve been given, and by who?

A.  No one, my mother told me that I could not be a painter because I was not Picasso, my uncle told me that I was doing "a bad job as a painter." My work has never been accepted by my family.

Q. What advice would you give to the next generation?  

A. The same advice from Susanna Tamaro's book "Go where your heart goes," do everything you want to do.