\nOnce he went ashore, in 1954, he could dedicate to activities that let him probe his passion for creativity. Costantini indeed\u00a0projects and draws fabrics<\/strong> in Santa Margherita Ligure, then collaborates with the graphic Firma di Genova<\/strong>, with the business magazines of\u00a0Shell<\/strong>\u00a0and\u00a0Esso<\/strong>, and\u00a0Italsider <\/strong>too.<\/p>\n
He nurtures his interest in painting and literature: in 1959, after a trip to Spain, he makes a number of paintings about\u00a0Bullfighting. <\/strong><\/em>Some years later, as in\u00a01963 onwards, thanks to an experience in the Soviet Union, he will devote himself to the study of international libertarian movement<\/strong>. According to this, in his paints he represents highlights of the anarchic movement between\u00a01878 and 1926. To do this, he remains true to the documentary sources that will become a landmark of his production.<\/p>\n From the ’80s, Costantini’s research is geared towards the inevitability in history and its effects<\/strong>. That fine line which links victims and perpetrators and the fortuity of historical events, rolling over a single individual.<\/p>\n So that he gives birth to a series of paintings dedicated to the tragic ending of the Romanov family<\/strong>, Titanic<\/strong> sinking and later on to the French Revolution<\/strong>.<\/p>\n He never abandons his love for literature, witnessed by numerous portraits dedicated to writers and poets. But also ilustrations produced in volums such as\u00a0\u00a0The fire horse<\/em> by\u00a0Vladimir Majakovskij (1969; reprinted 2006), Heart<\/em> by\u00a0Edmondo De Amicis (1977), The shadow line by\u00a0<\/em>Joseph Conrad (1989), Memories from the underground by<\/em>\u00a0F\u00ebdor Dostoevskij (1997). Furthermore, portraits for national newspapers such as\u00a0La Domenica del Corriere<\/em>, Corriere<\/em> della Sera<\/em>, La Repubblica<\/em>, L\u2019Europeo<\/em>,\u00a0Panorama<\/em> e L\u2019Espresso.<\/em><\/p>\n Selftaught, this artist develops a very personal language and strives to identify in a movement or a codified style. Although he does not engage in abstraction, he denies<\/strong> figuration through irregular proportions and warped perspectives. \u00a0He outlines figures and architectures by means of a unique black strokes<\/strong> a fine grid of shadows. Thanks to this, he remains true to literary and iconographic sources he gets inspired by.<\/p>\n He dies in Genova in 2013. The Archive\u00a0<\/strong><\/a>of\u00a0Flavio Costantini<\/strong>, is born few years before (2011) thanks to the initiative of his family and friends. It aims to encourage, foster, saveguard and spread the knowledge of his works and research.<\/p>\n For Bolaffi\u00a0 he mades \u00a0The King<\/a>\u00a0in the series of the\u00a0Playing Cards<\/a>.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Self-taught, multifaceted, reluctant to the logics of art, totally against the sense of belonging to one movement or style, Flavio Costantini has gone through the 18th century exploring the history and the inevitability of the events.<\/p>\n","protected":false},"author":5,"featured_media":1636,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[239,379],"tags":[355,310,380,368],"class_list":["post-6212","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists","category-flavio-costantini-en","tag-art-multiples","tag-bolaffiartes-artist-covers","tag-contemporary-art-multiples","tag-flavio-costantini-en"],"jetpack_featured_media_url":"https:\/\/old.marottaeditori.com\/wp-content\/uploads\/2017\/05\/66-Flavio-Costantini-fronte.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/posts\/6212","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/comments?post=6212"}],"version-history":[{"count":0,"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/posts\/6212\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/media\/1636"}],"wp:attachment":[{"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/media?parent=6212"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/categories?post=6212"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/old.marottaeditori.com\/en\/wp-json\/wp\/v2\/tags?post=6212"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Flavio](\"https:\/\/old.marottaeditori.com\/wp-content\/uploads\/2018\/05\/Band_a_bonnot_desenho.jpg\")
Flavio Costantini’s unique and inevitable style<\/h2>\n
![\"Flavio](\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e4\/Band_a_bonnot_desenho.jpg\")